Preliminary
Rounds
Day 5 Recital
One (11 am)
Wednesday 29 May
2013
ALESSANDRO
TAVERNA (Italy) has
returned with the most atypical competition programme thought possible,
beginning with Mendelssohn’s Sonata
in B flat major (Op.106). This is not “Hammerklavier Lite” even if it begins
with crashing chords, but something lighter by far. There’s some gratuitous note-spinning
about, but what sticks out is the “song without words” slow movement which the
Italian crafts most sensitively. Following that was Nikolai Medtner’s Sonata Minacciosa (Op.53 No.2), which I
believe means “Menacing Sonata” or something to that effect. It is very
dramatic and dark, trenchantly brought out, but seems to belabour its point (a
two-note motif that hangs like a curse) too much. Ligeti’s etude The Devil’s Staircase – equally dark and
threatening - was very impressively played, and the same dissonance occupied
much of Messiaen’s Contemplation of the
Spirit of Joy (from his Twenty Contemplations of the Infant Jesus),
its chord-laden pages lit up by a transcendent chorale melody that is its valediction.
Standometer: **
My
view: Very
impressive, but I fear this cerebral recital may have flown over the top of
most heads (including mine).
NIKOLAY
KHOZYAINOV (Russia) continues
to impress, not by just his prodigious technique, but also his restraint. His
Chopin set was lovely, opening with the singing lines of the Barcarolle (Op.60), and closing with an
ultra-smooth Berceuse (Op.57), both
crafted to perfection. In between was the Chromatic
Etude in A minor (Op.10 No.2) which was pristine and accurate to say the
least. Then came his Liszt Sonata in
B minor, which was a textbook account that would please anybody and everybody.
The climaxes were plangently built up, and he does not bang. The quieter passages
were poetically conceived and pleasing to the ear. All this sounds very good,
by why doesn’t this constitute a rave? I just have the niggling feeling that
something is missing; this interpretation sounds like the life experience of a
20-year-old that has been carefully cultivated, watered and pruned in a sterile
bubble, one that has yet to taste life in a rough and tumble world. Standometer: ***
My
view:
Would progress to the next round. Juries just love these kind of students.
The polar opposite to the young Russian
would be ALESSANDRO DELJAVAN (Italy),
who looks battle-scarred, appearing at least twenty years older than the 26
listed in the Cliburn book. His recital was one born of trials and tribulation,
but that had yet to surface in Mozart’s Variations
on Gluck’s Unser dummer Pobel meint, which had an operatic and comedic
theatricality that was enchanting. His Schumann Fantaisie in C major (Op.17) would be, in my opinion, the
performance of the Preliminaries. With agony and ecstasy etched on his face to
equal degree, the music came through with molto
passione, molto dolore and molto amore. His sound was gorgeously
projected, and those crazy octave leaps – nailed with an inexorable finality – sounded
like some sort of vindication, of one whose dark inner secrets remains unrevealed.
The audience applauded spontaneously after the first and second movements, but Deljavan
got his own back when after the quiet C major ending, he continued unmolested into
Schubert’s lovely Variation on the
Diabelli Waltz (also in C major), almost a built-in encore. Standometer: ** only? (the audience was
probably stunned into ultimate reverence)
My
view:
I am almost speechless myself. If he does not progress, some people need to be
shot.
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