SIPCA Semi-Final 1

Hoang Pham is playing Schubert as we speak and I'm happy to mention his first few minutes has me utterly converted. I feel the artistry now. Such glorious sound and, as another blogger has already said, "pure poetry". I misjudged him on hearing his Chopin Scherzo, which I didn't like. Even Argerich has performances that I don't like...

This, I like VERY much. The first movement was perfectly structured, warm and gentle. It's so very beautiful. I'm floating away on clouds of bliss. (Not something I ever thought I'd say about this pianist). I'm happy to admit that I was extremely wrong. This is some of the best playing I've heard in the whole competition. The variety of tonal shading is astonishing. I don't think he dropped a single note in the whole sonata. Absolutely breathtaking. The last two chords seemed somehow out of place, but that's a very minor quibble with a stunning performance.

He's playing three Ravel pieces next: Une barque sur l'ocean (my old warhorse), Alborada del gracioso and La vallee des cloches (my old anti-warhorse). I'm very, VERY picky about my Ravel, and I'm hoping he measures up. If he does, I'll have a new favourite.

Oh yes. The perfect pearly tone for Une barque. Chills of delight.

I'm utterly spellbound. I would've liked more bite at one point, but it's so exquisitely crafted that I'll pass on the bite this time. A few dropped notes, nothing major, just reminds us of the incredible difficulty of this piece. It's so slippery. I can vouch for that... Evenness in the right hand arpeggios that I can only dream of. Limpid and glorious. The nasty g minor section is near-flawless. Nice build to the climactic point, which is just... oh, so beautifully done.

I have a new favourite, and I'll make the bold pronouncement that if he continues to play like this, and there's any justice in the world, he will win this competition.

Ideally, I'd like more Spanish passion in the Alborada, but it's GORGEOUS. Oh there we go, he's letting it out a bit. I like that. Strike my earlier comment, he's got it just right. For a competitor who rarely drops a note, he's had a few slips in the Ravel. Which just goes to show how HARD Ravel is. Actually I've rarely heard anyone make such light work of this treacherous piece. I tried to tackle it, but quickly lost interest due to an extreme case of 'can't be bothered'. Mr. Pham, however, can be bothered and did a marvellous job.

Don't even need to comment about La Vallee. It's right up his alley and utterly superlative.

Wow. The Hough (I'm assuming this means Stephen?) arrangement of the Radetzky March is just wonderful. It's almost over and I hadn't managed to type. BRAVO, Hoang Pham.

Konstantin Shamray leads off the Chamber Music section with Brahms B major. He doesn't seem to be quite with his string players, although his playing is beautifully warm.

It doesn't grab me. So therefore I find it difficult to objectively assess its merits because my mind is wandering. Sorry.

Perhaps this has something to do with the extreme cold in my house.

Well, Mr. Shamray has done himself justice. It just doesn't excite me. I feel bad not being excited by such warm, passionate playing, but I'm just not. I don't think the failing is mine, in this case. Gerard Willems liked it, though...

Tomoki Kitamura must be an old, old soul. Remarkable maturity, allied with flawless technique and attack. Brilliant. Grieg's Holberg Suite is an inspired choice. Mr. Kitamura is inspiring in his choice of Grieg's Holberg Suite. Now we have Schubert, Op 122 in E flat major. I'm not familiar with this piece, but Mr. Kitamura represents its beauty in a splendid manner. He is such a unique musician, which I adore. Not quite as shiny and pretty as Hoang Pham, perhaps, but equally gifted, if not more so, perhaps... ageless genius, as yet still a little undeveloped. Such depth of feeling in the slow movement. It's playing like this that makes me wonder whether Mr. Kitamura has a lifetime of untapped sadness to draw from. Ran Dank is another pianist whose playing inspires thoughts of a not-so-happy life. I could be completely wrong about this, but it's certainly an interesting thought. I'm enjoying the Schubert immensely, but am most looking forward to the Stravinsky Firebird Suite which closes his program. The tone this young man produces is miraculous. Just beautiful, and I suspect not lacking in power.

I really do like Schubert. This is a bit of a new revelation to me. I've always preferred the flashier stuff in the past.

Here we go. Stravinsky. Tricky stuff. Well, not so as you'd notice with Mr. Kitamura. Wow. Goosebumps. More like cold chills, perhaps. Such wonderful rhythmic thrust! I don't know the piece well so I can't say absolutely, but it sounds like all the notes are firmly in place. It's exciting stuff. Another inspired choice. THUNDEROUS! I'd love to be in the York Theatre right now. Magical playing. BRAVO!
I'd love to see Hoang Pham and Tomoki Kitamura go straight through to the final six. They've been absolutely inspirational today.

(Yet still, nobody grabs me the way John Chen did four years ago. Then again, I can't expect that to happen all the time...)

Tatiana Kolesova is essaying the Ravel Piano Trio shortly. This is always interesting. Last time there were two performances - one quite acceptable by Charisse Baldoria, and one simply outstanding, superlative, wonderful, amazing, genius by John Chen.
Ms. Kolesova begins beautifully, but that's not difficult to do in this piece. She is right with her strings, however. The first movement is beautiful. Just as I expected from this wonderful pianist. Still one of my favourites. I am loving this.
The Pantoum movement is swinging along. Perfect clarity and wonderful sound. It lacks a little bite, though. I just long for John Chen. But, when do I not? Especially in Ravel. Ms. Kolesova is playing well, very well indeed... but I didn't buy that movement. Now for the true heart and soul of the work - the slow movement. Ravel wasn't a happy man... you can tell. Not so impressed with her handling of the introductory theme. It could have a lot more heart and gravitas.
This is highly, highly competent. However this music, for me, has a deep sense of irretrievable loss, which is missing here. Still, I'm crying. This music, no matter how it's played, makes me cry without fail. This is a superbly crafted performance well worthy of accolades. And yet... I think John Chen's performance in 2004 ruined me for life... I hope I can find the cassette I recorded it on. I'd love to listen again, even though it's permanently etched in my mind's ear.

Well. The final movement. A killer. Ambitious tempo - fast. It's beautiful, shiny, sparkling even, but I still long for John Chen. Perhaps I should stop judging other pianists against one who isn't even in this year's competition, and go and buy some CDs to feed my musical obsession.

Oh, come on, Ms. Kolesova! I liked you so much, and you're boring me in this most exciting of final movements. It's such good playing, but I'm BORED! (I feel like a small child, but hey, it's my right!) I don't understand the dramatic slow-down, either. Why? Started too fast maybe? It takes away a lot of impact. Oh dear. In the completely DEMENTED crazy chords, it's just slow and impactless. Sighhhhhhhhhhhhhhh. I should be jumping out of my skin right now. I want to be excited in the triumphant ending chords, but it's all just too darned facile. I'm getting passionate about this, but for the wrong reasons. Grrrrrrrrrrrrrrrrrrrrrrrr! The music itself is amazing, but she's taken the edge off. Such a shame. Well, the audience cheered. I didn't want to. Sorry.

OK. Now I'm going to hunt down commentary I wrote about John Chen's Ravel four years ago, to compare. That's the end of the afternoon session. Time for some practice of my own. Inferiority complex, here we come!