A Different Kind of Competition

When we began imagining the Erie Niagara Conservatory, we were not interested in replicating what already existed. Most of us have spent enough time in traditional institutions to know exactly what they offer—and what they often overlook. We wanted to create a space that felt attentive. One that prioritized individuals over polish, clarity over perfection. A space where music wasn’t simply presented, but shared in a way that was real, grounded, and—above all—human.

On June 21, 2025, we held our first public event: a regional music competition followed by a gala concert. It took place at Asbury United Methodist Church in Amherst, NY—a generous and open space that lent itself beautifully to the kind of atmosphere we hoped to create.

Competitions carry weight. They’re supposed to. But they also carry expectations that can turn music into something performative and brittle. From the beginning, our goal was to offer something else. Yes, there would be prizes. But there would also be room to think, to breathe, and to show up as oneself—not as a version edited for applause.

Students from across the region participated—ages five through nineteen. Some had been performing for years. Others were stepping into that role for the first time. They entered in one or more of the following categories: solo instruments, voice, chamber music, composition, and creative performance or improvisation. Each performer brought two contrasting pieces. Composers submitted original works under seven minutes. Memorization was optional. And everyone received written feedback from two or three professional adjudicators.

We asked our judges to respond with honesty and care. Their comments focused not only on technical accuracy or stylistic conventions, but also on musical intent, personal voice, and potential. We were interested in what each student brought with them, not just what they could replicate.

There were mistakes. There were nerves. There were also moments of real connection—where you could feel a student settle into themselves and play something that sounded unmistakably their own. For us, that’s the measure of a meaningful music education. Not what you can perform, but what you can communicate when the pressure drops.

This year’s prize winners included:

• Ages 5–8: Nguyen Truong, piano
• Ages 9–12: Thierry Antoine, piano; Finja Gartner, piano
• Ages 13–15: Nandini Kulkarni, piano; Camila Sills, voice
• Ages 16–19: Giacomo Biondini, piano

First-prize winners were invited to perform at the concert that evening, joined by some of our Conservatory’s founding board members and guests.

The concert program included works by Florence Price, Frank Gulino, M. Goldenberg, and Franz Liszt. Elliot Borden and Zoe Fragapane performed Price’s brass duets. Nicholas Weir played Gulino’s The Effervescent Ballroom on tuba. Christina Santamaria offered a stunning set of songs. Dr. Martin Weir played Talking Circle on percussion—a deeply focused, meditative performance. Dr. Antonella Di Giulio closed the evening with Liszt’s Ballade in B minor, a work that never pretends to be light, and which—like the day itself—carries both storm and clarity.

More than once, we overheard parents say they were surprised. They didn’t expect a competition to feel so quiet. So thoughtful. So unhurried. And that, to me, was the success.

We’re not trying to be radical, but to be real. This Conservatory exists for the students who need space to grow without being squeezed. For the teachers who want to speak honestly. For the families who care less about perfect scores and more about whether their child feels seen.

This was our first event. But it felt like a beginning in the truest sense—something that didn’t just mark a milestone, but pointed forward.