The Sydney International Piano Competition is a music competition, presented in Sydney and broadcast live throughout Australia and internationally. It is held every four years, over a three-week period in July–August,^[1] and is internationally recognised as one of the world's great piano competitions.^[2]

The competition was established in July 1977 by Claire Dan, with co-founders Rex Hobcroft and Robert Tobias,^[3] and was admitted as a member of the World Federation of International Music Competitions in 1978.^[4][5]

The artistic director from its inception until 2015 was Warren Thomson, who also served as chairman of the jury from 1992 until 2012. In April 2015, following Thomson's death in February, Piers Lane (a former competitor and juror) was announced as the artistic director of the 2016 competition.^[6]

For the first time in its history, the competition due to be held in July 2020 was postponed to 2021, due to the impact of the COVID-19 epidemic.^{[7] [8]}

A total of 32 (originally 36) pianists are selected to participate in the competition. Worldwide auditions are held to select the entrants, who must be aged between 18 and 32.^[1][9] Traditionally, the previous winner presents a Gala Opening recital.

The 11th Sydney International Piano Competition took place from the 6 to 23 July 2016.^[19] The preliminary rounds and semi final sounds were held in the Verbrugghen Hall at the Sydney Conservatorium of Music. The finals were held at the Sydney Opera House.

2016 Prize Winners^[23]

1st Prize	Andrey Gugnin
2nd Prize	Arseny Tarasevich-Nikolaev
3rd Prize	Moye Chen
4th Prize	Kenneth Broberg
5th Prize	Oxana Shevchenko
6th Prize	Jianing Kong

2016 Jury Members

Sa Chen
Nikolai Demidenko
Ewa Kupiec
Hamish Milne
Noriko Ogawa
Orli Shaham
Carl Vine AO
Timothy Walker AM
Mira Yevtich

2016 Special Prizewinners^[24]

Prizewinner	Details
Andrey Gugnin	Best Overall Concerto sponsored and selected by the Sydney Symphony Orchestra
Jianing Kong	Best 18th Century Concerto donated by Drs Keith and Eileen Ong
Andrey Gugnin	Best 19th or 20th Century Concerto donated by Janice Tuynman in memory of her husband Hank Tuynman
Andrey Gugnin	Best Violin and Piano Sonata donated by Susie Bate and Annie Moulden in memory of their uncle, Warren Thomson OAM
Oxana Shevchenko	Best Piano Quintet donated by David and Jan Robinson
Andrey Gugnin	Best Preliminaries Round 1 Recital donated by Ron, Lynn and Marcus Ogden
Arseny Tarasevich-Nikolaev	Best Preliminaries Round 2 Recital donated by Dr Robert Mitchell in memory of Denis Condon
Jianing Kong	Best Semi Finals Recital donated by Dr Robert Mitchell in memory of Denis Condon
Daniel Lebhardt	Most Promising Pianist Sponsored by Universal Music Australia
Tony Lee	Best Australian Pianist donated by Youth Music Foundation
Gyu Tae Ha	Best Performance of an Australian Piece donated by Hugh Hallard and Judy Hunt in memory of Warren Thomson OAM
Sergey Belyavskiy	Chairman of the Board’s Prize for the Best Performance of a work by Liszt donated by Neville Grace
Ming Xie	People’s Choice sponsored by Yamaha
Ming Xie	Medal for the Most Promising Competitor donated by Graham Wickes in memory of Australian pianist Dennis Hennig
Martin Malmgren	Jury Discretionary Award donated by the 2016 Jury members
Ming Xie and Alyosha Jurinic	Alink-Argerich Foundation Award

Despite its generally recognised prestige, the competition has been in the past strongly criticised by some established Australian pianists. The pianist and composer Larry Sitsky said: "The title Sydney International Piano Competition sounds grand and definitive. But behind the facade is a rather shabby private party in progress".^[25] The Liszt specialist and composer Leslie Howard said: "I was asked to be on the international advisory panel for this years ago ... and since then have never heard from any of them. ... No-one, of course, will ever hear from any of the prize-winners. They all seem to have had rather too close connections with members of the jury, which in any case is composed mostly of lacklustre teachers ... who have never been professional concert pianists in their lives and wouldn't recognise good and original artistry if it jumped up and bit them".^[25] Michael Kieran Harvey has asked: "What does the complete lack of success past SIPCA winners have had at making a career say about the cloth-eared selectors who travel around the world at great expense auditioning young hopefuls? Why, if SIPCA is such an internationally significant competition, are second-rate teachers no-one's ever heard of, to say nothing of completely unqualified non-musicians, sitting in judgment at this supposedly premier music event?"^[22] Despite his criticism, Harvey agreed to become the commentator for the ABC's radio broadcast of the 2000 competition, "in an attempt to provide some objective analysis".^[22]

Critics also pointed to the dominance of Warren Thomson, who single-handedly chose the repertoire and all the jurors, many of whom are associated with the Australian Institute of Music (AIM), of which he was artistic director, Professional Development Programs.^[25] With assistance from others, he also auditioned all the entrants and chose the 36 competitors. Alexei Yemtsov, a competitor at the 2000 competition, lived in Thomson's home and Thomson became his official guardian. That year, the minimum age was lowered from 18 to 17, although Thomson denied it had anything to do with Yemtsov's being only 17 at the time.^[25] The pianist Simon Tedeschi has said he "has no intention of ever collaborating with Thomson and SIPCA ... The school of pianism with which he associates himself is not to my taste ... The trained-seal mentality makes for poor musicianship, and, ultimately, unhappy lives".^[22] Margaret Hair, AIM's former head of keyboard studies, said: "There's a feeling among teachers that with Warren [Thomson] in charge, Australian students have little chance of making the final cut. The most tragic outcome of his effect on the piano scene in this country is a sense of hopelessness that most students now feel".^[25]

Critics also pointed to the fact that in some cases competitors are the students of members of the jury. For example, Mikhail Yanovitsky and Dmitry Grigortsevich, finalists in the 1996 competition, were students of Mikhail Voskresensky and Lev Vlassenko respectively, both of whom were jurors.

The competition came under fire in 1992 when Ukrainian pianist Vitaly Samoshko was denied 6th place due to his disqualification for playing the incorrect Mozart Concerto. There was an error in the Kochel number in the application and whilst he was allowed to perform the concerto he had prepared, as well as Rachmaninov's Rhapsody on a Theme of Paganini, Op 43 he was nonetheless disqualified and 6th prize was not awarded based on legal advice at the time. The jury, not for the first time failed to award French pianist Oliver Cazal 1st prize even though he was the People's Choice winner and was by far and away the stand out performer. His performance of Prokofiev's 3rd Concerto was and is until this day, the benchmark performance.

• List of classical music competitions