Twenty four young pianists from 13 countries entered the Minnesota International Piano-e-Competition, which began June 30 and will last through July 10. Nine finalists were announced Friday; finalist rounds will culminate in three concerts with the Minnesota Orchestra on July 9 and 10, the last one featuring the winner.

The events are taking place at Sundin Music Hall, Hamline University, St. Paul, and at Orchestra Hall, Minneapolis. Pianists are competing for a top prize of $25,000, the issuance of a CD, a recital tour and a grand piano.

“It is the most just piano contest in the world,” says Alexander Braginsky, president and artistic director of competition, in an interview with MinnPost. Here are excerpts from the Q&A.

MinnPost: Does "e" stand for electronics?

Alexander Braginsky: Yes, it’s a technological "e.” I thought of how to show the involvement of technology in bringing music to listeners. ... At first, people thought of our contest as something that happens only on the Internet. But after it became apparent that it is not so, they got used to the name.

MP: The first contest took place in 2002?

AB: Yes, and everything was very non-standardized, very unusual from the standpoint of conducting traditional contests, which usually have giant budgets and for which many people work. For us, at first it was only I who worked for the contests. Then we got a manager and director. Now these functions are performed by my long-time assistant, Stella Sick. If we were to look at it from a world-level contest and performers, there is a certain rating, called the “Fortepiano Contests of the World.”

MP: Contests have their own ratings?

AB: Yes, they are rated based on a five-star system. Like Cognac. Good Cognac. So, there are only 30 piano contests in the world that deserve five stars. And in America, there are only 6 five-star contests. Ours received its 5 from the very beginning, while being organized by the two of us, Stella and I, plus Jeff Wirth. And to get those starts we had to go through a quite complex method. By the way, Stella was a student of mine. She is a very good pianist and also earned her Ph.D.”

MP: What is the reason for the success of Piano-e-Competition?

AB: First, in the principles that were laid down into the foundation of the contest. Only two people were to make all decisions. Yours truly, and a Minneapolis businessman, Jeff Wirth, who provided an amazing financial support. I became the president and artistic director and Jeff is the CEO. We resolved all questions on our own, so decisions were made very quickly and we could allow ourselves to be very flexible.

MP: What made you to establish this contest?

AB: I took and still continue to take an active role in being part of a jury of different international and All-American contests. I have gained much experience from the perspective of a contestant and a judge. And from my point of view, the rules of contests needed change. But, I understood that it is not my business to change the order of existing competitions.

MP: What exactly needs changes?

AB: Once, violations of protocol that took place during one of the contests were simply shocking. I was overwhelmed and thought it would be wonderful to organize my own, maybe small, but my own fairness-based contest. What I’ve learned, because amid the musicians, a specific and cynical point of view has been established: If a certain person is not present on the jury, then you won’t win. Once, at the Tchaikovsky contest, all six finalists were students of the members of the jury. ... The first thing I did, I forbade the students of members of the jury from taking part in the contest. The next restriction was that the performer could not be a student of a judge in the last five years. Also, relatives of the jury could not take part in the competition under any circumstance. And students of the artistic director also. ... which is why I, the artistic director, excluded myself from the voting process. The only thing I have to do is break a tie.

MP: You mean, no conflict of interests?

AB: Absolutely. The contestants are also forbidden from contacting members of the jury. ... And if I just break ties, I still should not communicate with the contestants. And I stopped. Also, no applicant is permitted to attend master classes of the announced jury members. Imagine, the participants take master classes from members of the jury but then take part in the competition.

MP: Most likely, they will vote for their student.

AB: That’s right. We tried to eliminate even the thought of the conflict. And that is why we hear from all over that our contest is the most just in the world.

MP: What about the repertoire?

AB: Repertoire should reflect the real life of a concert performer. The program of the selection performance is a completely free choice. Those who go through the tour ... our selective tour is virtual.”

MP: How does that work?

AB: The contestants send their recordings to Minneapolis. From the total number of applications, 164 this year, I pick 60 people. Then ... the contestants gather in Los Angeles, New York, Paris, Shanghai, Hamamatsu and Moscow. In every city, a Yamaha Disklavier piano is placed in a specific hall.

MP: What is this piano?

AB: On one hand, it is a very typical concert piano, but on the other, it is very special. Inside it, there is a laser sensor that registers movement of the hammers in the piano and the pedals. The registration of the order of two and a half thousand positions of the hammers and the 258 positions of the pedals. That means that accuracy is very high. Then the Disklavier can recreate what it recorded in its digital form on a compact disc. Then the piano will replay the recorded performance, not different from the original.

MP: Mechanical piano?

AB: Yes, the keys play on their own. ... And at the same time there is a video recording. For example, the jury gathered in Hamline University sees the pianist on the screen, but the music is performed by the piano on the stage. The image of the pianist is projected onto the screen, while the piano plays the music live. The jury of six people selects 24 pianists from 60, who then come for the contest. ... Since last year, the virtual performance became live on the Disklavier and the screen. Nothing needs to be sent anymore. The pianist plays at 6 p.m. in Moscow while we listen here. ... [Later, in competition rounds in Minnesota], the 24 selected participants will play a solo concert from 65 to 75 minutes of their choice.

MP: Then how many will be left?

AB: Nine are left. Then begins the Schubert Round, and six finalists are left. [The Schubert Round is on Sunday, July 5, beginning at noon at Sundin Music Hall at Hamline University.] The six finalists have to play one of three forte piano quintets; they may choose from Brahms, Dvorak, Schumann. [The Quintet Finals with the Rosalyra Quintet will take place on Tuesday, July 7. in Sundin Music Hall at Hamline. See schedule here.] And then a concert of their choosing, performed with the Minnesota Orchestra at Orchestra Hall.

MP: What does the top prize mean for the pianist?

AB: Prestige, experience and growth. A step in the career formation. It is also very important for a resume. A bonus around $100,000 means something too, I hope (smiles).

MP: You have also organized a unique Institute at Hamline University.

AB: This Institute is called International Piano Institute. Another came-true dream of creating a place for talented musicians of different ages. They are united by their talent and love of music. They come for free or almost free for interaction and practicing with one another.

MP: How does it differ from the conservatory?

AB: Flexibility. It is an outfit made for individual order; the order, though, is defined by me and based on students’ individual needs. ... A group is of 12 such students, and for them, I am a senior friend and mentor. Although, I am rather strict.

MP: You teach at Hamline University and the University of Minnesota?

AB: Yes, I teach piano. Many wonderful musicians come to visit who give master classes .... Also, the slogan of our institute, which is learned by everyone -- regardless of language, since we have students from other countries -- is “Practice, eat and sleep.” If they do not do that, thunder claps and lighting strikes. But otherwise, help is available in everything. They are well-fed and well-practiced.

Alexander Braginsky was born, raised, and studied in Moscow. He graduated from the Central School of Moscow and the Moscow Conservatory. Braginsky’s instructors were Alexander Goldenweiser and Theodore Gutman. He has concertized and recorded extensively.

Piano-e-Competition finals and gala concert. Three of the six finalists will play a concerto with the Minnesota Orchestra on Thursday, July 9, 7:30 p.m. at Orchestra Hall; three more finalists will play there on Friday, July 10, at noon; and the winner, who will be announced July 10, will play with the orchestra on Friday, July 10, at 8 p.m. Orchestra Hall. Free, with general admission seating. For a full schedule of events go here.

Tatyana Thulien, who conducted this interview, is a native of Kiev, Ukraine. She is a realtor and Twin Cities writer who worked for five years for the Russian-language publishing company Zerkalo. She has contributed to the monthlies North Star and Minnesota News.