Cosmo Buono is the co-founder of the Bradshaw & Buono International Piano Competition, which he established with the late David Bradshaw in 2003.  Performing together for more than three decades, the duo pianists specialized in repertoire for one piano four hands, and were noted in particular for their interpretations of Liszt, Rossini and Schubert.

 What made you decide to establish the Bradshaw & Buono Competition?

As David and I performed throughout the world, we became aware of how few opportunities there were for talented, well-trained pianists of any age to launch and sustain a musical career.  There were simply not enough ways to make the transition from formal studies to performances and tours that bring an artist to the attention of the public.  We started the competition with the idea that it would serve as a vehicle for truly good pianists to be heard, since the winners are given a performance debut at Carnegie Hall.

How do you feel your competition is different from some of the others?

First, we established the Bradshaw & Buono because we felt that too many other competitions value technique over musicianship.  We, instead, place an emphasis on sensitivity, individuality, and expression.  Next, we are not a competition for those pianists ready to embark on an international career.  That is more the realm of the Van Cliburn, Tchaikovsky, and Young Concert Artists, all of them excellent, but with a different focus.  We are working to encourage pianists on their way to a career, and we do this with divisions for everyone including children, even amateurs.  The process is encouraging because it lets everyone perform in a more professional setting, while also indirectly rewarding the efforts of parents and teachers.  It’s also helpful because with students needing to build their résumés for college early, winning a competition proves an important distinction.

You choose the winners based on the submission of recordings.  Why is that?

Our goal is to make the competition as user-friendly as possible, and by allowing applicants to submit recordings they avoid the travel expenses of coming to New York, with no guarantee of a return on their investment.  I remember what it is like to be a student, especially a student of music, and it can be very expensive.

You also sponsor a music festival every summer in Tolentino, Italy?

Yes.  The festival, called Musica e Arte, is designed to provide students with master classes and individual instruction in order to enhance their public performance.  Students also have the opportunity to study Italian, as well as explore the medieval and Renaissance art and architecture of the region.

How do you plan to shape the competition in the coming years?

My goal is to expand it to include more students from America as well as abroad.   We recently appointed Barry Alexander as Executive Director to help with this goal.  Mr. Alexander is head of a public relations firm, and also a former musician, who thoroughly understands our goals for the future. 2007—and beyond—promises to be particularly exciting.