Now approaching its fourth decade, the Brant International Piano Competition fills an important place in Birmingham's cultural calendar.
Over the years it has been held in various venues, and now, at the gracious Town Hall where its founder (regrettably absent through ill-health) once sat very close to Rachmaninov as he played, it seems to have found a permanent home.
But one thing still needs to be sorted. The judges - this year Mark Bebbington, a previous winner of the competition, Andrew Ball and Paul Keene - should give the audience an explanation of their decision.
Last year we were left in the dark, and so we were this year, too.
The standard was impressively high, as we have come to expect. First up was Japanese-born Jun Ishimura, opening her programme with a limpid, clearly-articulated Bach A minor Prelude and Fugue.
She continued with an unrelenting account of Chopin's B-flat minor Sonata, nothing significant allowed to stand out, and concluded with a scintillating, fluent Ravel La Valse.
Edward Pick was alert to all the Scarlattian textures of Haydn's D major Sonata, colourful and allusive in the hypnotic sound-world of Book 2 of Debussy's Images, and brilliant in the searching technical explorations of Two Studies by Lutoslawski.
The final contender was Kodo Osada, his platform body-language as persuasively eloquent as his playing. In Beethoven's late Bagatelles Op.126 he displayed an appropriately strong bass line and delicate pedalling, to Albeniz' Triana he brought deft delivery and warm colouring. and in Prokofiev's Seventh Sonata he was stunningly powerful.
After a mercifully short (after last year's interminable fiasco) deliberation, the judges decided on the order: Pick for first prize, Osada, Ishimura. I didn't entirely agree.