Preliminary
Rounds (Phase Two)
Day
5 Recital Two (3 pm)
Tuesday
28 May 2013
As before OLEKSANDR POLIYKOV (Ukraine), impressed with the way he tried to vary
his sound palette. He is one pianist who does not attempt to overwhelm with sheer
volume, instead working his way through the music’s silences and resonances. As
a result, his Wagner-Liszt Isoldes Liebestod
meandered its way ever so achingly into the final climax, and sometimes one
wondered, “Is she done yet?” The monumental Brahms Third Sonata in F minor (Op.5) did not have the shattering climaxes
one would have expected. In fact he was just a bit too gentle, but I did get to
enjoy the two slow movements, the 2nd and 4th which are
thematically linked, the latter a short reminiscence (hence entitled Ruckblick, or look back) of the former. Standometer: ***
My
view: Nice
work, if you can make it.
KUAN-TING
LIN (Taiwan), I
felt, played better this time, even if Schumann’s Humoresque (Op.20), a work in multiple linked movements, seems overly
discursive to bring out in competition. He provided very good contrasts, a svelte
cantabile for its opening and slews
of running notes elsewhere, and no shortage of volume, something that seemed
missing earlier. His run of Stravinsky’s Three
Movements from Petrushka, a work I have learnt to dread since the start of
this competition, was technically the least accurate of all that has come, but
he had a number of interesting ideas which had me piqued. I rather enjoyed the
ride when there was not much to lose anyway. Standometer: **
My
view:
His work is done here. Thanks for the memories.
NIKITA
ABROSIMOV (Russia) continues
to impress, especially by playing to his strengths in an all-Russian programme.
He started with three Rachmaninov Preludes
from Op.23. The sardonic laugh of the D minor (No.3) was well contrasted with
the smooth singing voice in the nocturne-like D major (No.4) before closing
with the maelstrom of the C minor (No.7); this was a short but very well
thought-out selection. Then came the Prokofiev Eighth Sonata, which had everything the efficient El Greco had
lacked earlier. Oh, the Russians know how to brood and this one did so with
great vividness and imagination. The running notes had a thrilling edge which
was missing previously, and the irony – so typical of this composer – came by
the bucket-loads. The perpetuum mobile
finale capped a magnificent performance that showed how two note-perfect
readings could sound so different. Interpretation is the key to the world of
classical music. Standometer: **1/2
My
view:
The first of my definite semi-final picks for today.
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