Another week, another D-FW classical music competition.

Tuesday night, just a week and a half after the Van Cliburn International Piano Competition named its winners in Fort Worth, the Dallas International Violin Competition presented its three finalists in concert at Moody Performance Hall, then announced their prizes.

The $2,500 first prize went to American violinist Laurel Gagnon, currently studying at the Yale University School of Music. The prize also includes a future solo engagement with the Dallas Chamber Symphony, which presented the competition.

The $1,500 second prize and $500 audience choice award went to Hong Kong native Hiu Sing Fan, who’s pursuing a doctor of musical arts degree at Northwestern University.

The $1,000 third prize was awarded to Alice Lee, a Canadian studying at New England Conservatory.

In the concert, each of the finalists played a violin concerto with the Chamber Symphony, led by guest conductor Peter Bay, music director of the Austin Symphony Orchestra. Gagnon performed the Brahms concerto, Fan and Lee the Sibelius.

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The biennial competition is open to violinists 18 to 35. From applications and video recordings, 16 violinists were selected for the in-person competition. The first two rounds were held June 12 and 13 at the Murchison Performing Arts Center at the University of North Texas in Denton.

Each quarterfinalist performed a violin concerto with piano accompaniment, after which nine semifinalists performed recitals of unaccompanied solo violin works. A jury of three professional violinists/teachers picked contestants for each round.

It’s impressive that even a newer and lower-visibility competition could attract players of such technical authority and interpretive sophistication as the three heard Tuesday. Different listeners might have ranked them very differently.

All three occasionally overdid gruff bowings of fortissimo double-stops, at least for a 700-seat hall about one-third the size of most orchestra halls. This bothered me more in the Brahms, where it’s better to err on the side of reserve. And for me Gagnon’s choice of the over-the-top Fritz Kreisler cadenza overloaded the concerto.

But she’s an accomplished and expressive musician, and after Bay and the orchestra — principal oboist Elise Belk especially — eloquently introduced the slow movement, Gagnon tapped right into their timing and tapered phrases. The finale was a little more deliberate than I was expecting, but Brahms does qualify his “happy allegro” marking with “but not too lively.”

Both Fan and Lee delivered Sibelius’ scurries, double-stops and leaps into high pianissimos with impressive assurance, but differently. Not for Lee the Nordic cool often heard in the piece — hers was a passionate account, by turns earthy and ethereal, with considerable freedom in the built-in cadenza. Fan’s Sibelius was more conventionally cool, with a fine focus throughout.

With wind and brass sections as large as would be deployed in a 2,000-seat hall, although far fewer strings, Bay had his work cut out to keep the orchestra in balance. Apart from an occasional spot when flutes and clarinets or horns were a little too prominent, he and the players maintained impressive equilibrium. Always attuned to the soloists, Bay shaped the music securely and sensitively.

This would have been a good opportunity to ask the audience not to applaud after every movement, as it did Tuesday. And prolonged late seating during the slow movement of Lee’s Sibelius was unfortunate.