Chopin Competition opens with a conspicuous lineup of maestro artists
February 22, 2015 - accent chair
The U.S. National Chopin Piano Competition non-stop on Friday night with a opening by members of a foe jury during Miami-Dade County Auditorium. This ninth book of a American competition, that sends esteem winners to contest in a famed general Chopin foe in Warsaw, is presenting all rival sessions and performances during a West Flagler Street museum that was once a city’s principal unison hall.
Significantly, a evening’s best performances came from 4 former winners of a Miami-based foe who are portion on a jury this year, vividly illustrating because they prisoner a tip prizes. Dean Kramer, leader of a initial U.S. foe in 1975 and piano highbrow during a University of Oregon, played Chopin’s Nocturne in D-flat Major with a dreamy, supportive touch. Displaying a easily sundry energetic range, Kramer summoned copiousness of energy in a climaxes while always progressing beauty of tone.
British-born Ian Hobson, a co-winner of a 1975 competition, offering a classically scaled reading of a Ballade in F minor, displaying instrumental poise and pointy contrasts of mood and low-pitched accent. He made a melodies in a elegant mode of a salon while a virtuosic passages were thunderously assayed, Hobson’s technical arsenal on full display.
Kevin Kenner, a 1990 esteem leader and now highbrow during London’s Royal College of Music, brought inherited feeling for a beat and unconditional lines of a Barcarolle in F-sharp Major. Capturing a vignette’s regretful aura, Kenner emphasized a play in a keyboard travelling moments of inclement passion, a low-pitched change well realized.
Jon Nakamatsu, a 1995 Chopin leader and 1997 Gold Medal leader of a Van Cliburn Competition, played a Fantasie-Impromptu with good clarity even in a fastest sections, his lively gradual by a elegant sensibility in a beautifully rendered traversal of a executive melody.
The dusk was bookended by performances by dual maestro artists. Octogenarian Augustin Anievas (who is jury chairman) gave a candid reading of a Waltz in A-flat Major, a trills well executed. Anievas chose to play on a smaller Fazioli keyboard rather than a Steinway grand employed by a other artists. While not producing a tinge of a incomparable instrument, a piano’s sound was pure and transparent, aided by Anievas’ prudent function of pedals.
Krzysztof Jablonski, a 1985 Warsaw leader who teaches during universities in Warsaw and Calgary, was reasonably vigourous in a “Revolutionary” Etude in C minor. His chronicle of a Polonaise in A-flat Major was high on pyrotechnical razzle-dazzle though his beat was sluggish, a volume tendency toward a consistently loud. (Jury member Katarzyna Popowa-Zydron, who will chair this year’s Warsaw competition, did not perform due to a late attainment in Miami.)
In a evening’s usually song not by Chopin, general unison pianist and Cleveland Institute of Music highbrow Sergei Babayan teamed with South Florida pedant Margarita Shevchenko for song from Rachmaninoff for dual pianos. In a “Barcarolle” from Suite No. 1 and a whole Suite No. 2, their expertly synchronized personification was quite effective in a broadly paced Valse movement, Babayan’s Fazioli consistent skilfully with his partner during a Steinway. Theirs was not ethereal Rachmaninoff nonetheless largepscale, sparkling personification with copiousness of rhythmic acuity and power. The final “Tarantelle” of a Suite No. 2 was unconditional and viscerally charged.
Preliminary, Quarter and Semi-Final Rounds of a Ninth National Chopin Competition take place 9:30 a.m. and 2 p.m. Feb 21, 22, 23, 24 and 25 and are giveaway and open to a public. The Finals with band underneath Grzegorz Nowak will be presented 7 p.m. Feb 28 and 3 p.m. Mar 1 (with awards ceremony). All performances are during Miami-Dade County Auditorium. chopin.org; 800-745-3000.
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