The Banff International String Quartet Competition is more than just a competition. Here young artists are nurtured in an environment where music, mentorship and nature converge to create an unparalleled artistic experience.
Juliette Barber speaks with its Director, Barry Shiffman, to discover how this extraordinary event continues to inspire both competitors and audiences, year after year
You have a unique history with the Banff International String Quartet Competition. Can you tell us about your journey from competitor to director?
My connection with the Banff International String Quartet Competition is deeply personal. As a child, I attended training programmes at Banff Centre for Arts and Creativity, which sparked my passion for chamber music. In 1989, I co-founded the St. Lawrence String Quartet and had the privilege of competing in—and winning—the Banff competition in 1992. In 2006, I transitioned from performer to director, a role I have proudly held ever since.
What makes the Banff competition stand out among other music competitions?
What sets Banff Centre’s competition apart is our dual focus on both the artist and audience experience. Unlike many competitions, we emphasise artistry over competition—we view participants as “artists” rather than “competitors”, reflecting our ethos as a presenting organisation. This approach, combined with the breathtaking backdrop of the Canadian Rockies, creates an atmosphere unlike any other.
How do you ensure a positive experience for the competing quartets?
We’re lucky because we receive generous support which allows us to cover all the expenses for our 10 invited quartets—flights, meals, accommodation and practice spaces. Each quartet performs multiple times before any eliminations occur, ensuring they have ample opportunity to showcase their abilities. Then, the night before the finals, we announce which three quartets will be taking part. Even those who don’t advance to the finals receive a $5,000 career development grant, funded by the Anderson family.
Beyond financial support, we provide every quartet with high-definition audio recordings and professionally produced multi-camera videos, helping them build portfolios and secure future opportunities. Our philosophy is simple: every invited quartet deserves meaningful support, regardless of the competition results.
Can you elaborate on the support systems in place for the quartets?
A standout feature is our Mentor-in-Residence, who remains separate from the jury and acts as a supportive resource for the quartets. Whether offering technical advice, performance insights or simply a reassuring presence, they play a crucial role. This year’s mentor is Mark Steinberg, first violinist of the Brentano Quartet, following in the footsteps of past mentors like Joel Krosnick, the retired cellist of the Juilliard Quartet.
Banff Centre is more than just a venue—it fosters a rare artistic ecosystem. Can you describe this philosophy?
Banff Centre is a special place where artists are truly celebrated. Situated within a National Park, it shares its home with protected species—bears, mountain lions, elk and deer—all of which are protected under federal law. At Banff Centre, artists are elevated to the same rarefied status, elevating them to the top of the hierarchy. It’s an artificial society, a kind of utopian retreat where creativity is nurtured, and musicians are given the freedom to flourish. Receiving an artist’s card at Banff Centre isn’t just an entry pass—it’s a badge of honour, symbolising the deep respect for artistry that permeates everything we do, including the competition.
How does the competition approach the audience experience?
We are deeply invested in creating an exceptional experience for our audience, ensuring they return year after year. A full house doesn’t just fill seats—it transforms performances. A full house generates an energy that elevates the music, making it a richer, more immersive experience for both performers and listeners. This is vastly different from playing in a near-empty hall with only seven jurors—a vibrant, engaged audience brings the music to life in a way that cannot be replicated.
What can audience members expect from a typical day at the competition?
It’s an immersive experience. A typical day might begin with hundreds of audience members enjoying a communal breakfast in our magnificent all-glass dining room overlooking the Bow Valley. The day starts at 9 am with a morning lecture, followed by a rush up the hill—on foot or by bus—for the first recital of the competition. After lunch, there’s another concert, perhaps an open masterclass, dinner, and a third recital in the evening. To round off the night, guests and competitors gather for an open mic night in the bar, where they can unwind with live performances, or even join in themselves.
How does the competition celebrate specific composers?
Haydn holds a special place at the competition—we even award a special Haydn prize, supported by R.S. Williams & Sons. On the day that we play Haydn, we celebrate with Austrian-themed food, wine and even people on campus dressed as Haydn, creating a playful yet deeply immersive experience.
How does the competition collaborate with other competitions?
The chamber music world is quite small, but we do a lot of partnerships. For instance, we often tour our winners together with laureates from other competitions, like the Honens Piano Competition. As well, our winners have collaborated during other competitions such as the Ferruccio Busoni International Piano Competition and Honens, as part of the chamber music round of these competitions. There’s a good collegial relationship among members of the World Federation of International Music Competitions. We share best practices and support each other’s efforts.
How does the competition approach funding and financial sustainability?
Since Banff Centre is a registered charity, fundraising is a constant focus for us. We maintain strong relationships with existing donors and generate revenue through our audience package, which offers accommodation, meals and concert access. An impressive 92% of attendees return, a testament to the unforgettable experience we create. This model allows us to offer substantial prizes, career development and concert tours for our winners.
Finally, what do you believe is the true value of participating in the Banff competition?
Winning any competition is an achievement, but at Banff Centre, the true reward lies in the doors it opens. Our three-year career development programme provides invaluable opportunities—concert tours across North America and Europe, professional recordings and dedicated mentorship. A key highlight is our partnership with Southern Methodist University, where the winning quartet undertakes multiple residencies over two years, performing and coaching students. With $160,000 in funding, this initiative offers vital financial stability at a critical stage in their careers.
Reflecting on my own experience with the St. Lawrence Quartet, one of the greatest rewards was the connections we formed with other quartets. We became fast friends, toured and recorded together, and built lasting relationships. The sense of community that develops during the competition is extraordinary—it provides a vital network of support in what can often be an isolating profession.
Beyond the competition, Banff Centre itself is a remarkable institution, with decades of experience in training and mentoring artists. This nurturing environment ensures that quartets leave not just as competitors but as musicians ready for lifelong careers.
The Banff International String Quartet Competition takes place from 25 to 31 August 2025.
For more details, visit banffcentre.ca/bisqc