Preliminary
Rounds (Phase Two)
Day 5 Recital
One (11 am)
Tuesday 28 May
2013
The programme NIKITA MNDOYANTS (Russia) chose for his second recital did not
appear immediately attractive on paper but proved otherwise in practice. His
mastery of counterpoint in Bach’s less familiar Toccata in F sharp minor (BWV.910) was close to perfection, a nice
introduction to Haydn’s attractive little Sonata
in G major (Hob.XVI:6), which sounded pretty like much of the Haydn we’ve heard
to date. His true metier came in Taneyev’s mine-laden Prelude & Fugue in G sharp minor (Op.29), which like the Bach
before, revelled in fugal complexities besides being a notorious finger-buster.
He succeeded with great aplomb, and continued with Armenian composer Arno
Babadjanian’s Six Pictures, dissonant
mini tone-poems, some of which are folk-influenced. These too were very
impressively performed. Standometer: **
My
view:
Has improved his chances by several leaps.
My dark horse for the competition, LUCA BURATTO (Italy), appears far
better groomed today despite his crumpled white shirt. Gone is the extreme facial
grimacing from the earlier phase, a relief which allowed everyone including
himself to focus wholly on the music. His Bach Toccata in C minor (BWV.911) was a joy to behold, its fugue leaping
into fulsome life. There was much drama in the two Schumann Novelettes from Op.21 (Nos.2 & 8, longer
essays than their titles suggested), but he could have done with less
pedalling. He closed his recital with Bartok’s Sonata, where a rhythmic exuberance gave its percussive
abrasiveness an added sheen. Standometer: **1/2
My view: Would like to
see him progress, but the powers that be might (and will) differ.
GIUSEPPE
GRECO (Italy) is,
as always, impeccable in his
deportment, also keenly reflected in his playing. His Chopin Polonaise-Fantaisie (Op.61) had more
fire than the one played by Mndoyants earlier, and was more direct in its
rhythmic thrust. For the Prokofiev Eighth
Sonata in B flat major (Op.84), it was technically very accurate, ticking
off all the boxes on how one should approach such a complex and note-laden
work. Somehow it felt curiously uninvolving, as if note-for-note proficiency
and accuracy had become sort of blasé. Standometer:
***
My
view:
He plays everything almost perfectly, but why does he not move me today?
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