Cliburn Competition

Competition Blog

2013 Cliburn Competition



Greetings from Bavaria

After coming back home to Munich and "normal life" -- and looking back on the 14th Cliburn Competition -- I must say what a great experience this venue was. Excellent music, great encounters with great artists, as well as a cheerful and enthusiastic audience at Bass Performance Hall! It was a great pleasure sharing my experiences and impressions with people and colleagues both on-site in Fort Worth and on this blog. For all of you who speak a little German or are just curious, read my article and listen to my report on the closing of the 14th Cliburn, I did for my radio station BR-KLASSIK: http://www.br.de/radio/br-klassik/sendungen/allegro/14-van-cliburn-wettbewerb-gewinner-vadym-kholodenko100.html

Hope to come back in four years for the 15th Cliburn.

Goodbye, Servus and Auf Wiedersehen!

 

Written by Christoph Hiller at 00:00
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Final thoughts from Nick
Shortly after winning $61,000 of total prize money and the gold medal,  Vadym Kholodenko  flashed one of his first smiles of the competition. The audience gave an ecstatic ovation when his name was called. Italy's Beatrice Rana won second prize, and she also won the audience choice award based on voting by more than 24,000 people worldwide.  Sean Chen took third place in the competition. At the press conference following the awards ceremony, Sean said: "If you had asked me when I was a freshman at Juilliard if I ever would have medalled in the Cliburn I would have laughed and left." He said that the experience here has been one of the best and also one of the most stressful of his life. When asked how high this moment ranks among his musical accomplishments, he stretched his hand high in the air and smiled. He also said that he and gold medalist Vadym Kholodenko were thinking of celebrating with whiskey. 

Kholodenko confirmed the rumor that he wrote the cadenzas to the Mozart Piano Concerto No. 21 on the airplane ride to America just a few weeks ago. In what may have been the largest understatement of the competition, he said with a smile that he was "not disappointed" about winning. He said that competition is "just part of our life" and not something specific to music. He also noted that he doesn't think the ranking of the finalists is so important, and that it might be of more interest to the media and audiences than the musicians. Asked whether he has any expectations of the next three years of engagements that he will play as a Cliburn gold medalist, he smiled and said: "I expect to have concerts beyond these three years."

On the subject of competition, Beatrice said that she agrees with Bartok that competition is for horses, not artists. She added: "I don't feel horse." She also said that competitions are one of the best ways to have a concert career, and that after the silver medal, she would not compete anymore. Sean and Vadym also said that they did not have plans to compete again in the future. 

Blogging for the Cliburn this past week has been a wonderful experience. I have greatly enjoyed meeting so many musicians and people involved with the competition and hearing such wonderful music. Many thanks to the Cliburn, and best of luck to all the musicians in the competition!
Written by Nick Romeo at 00:00
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Final Round, Day 3
Beatrice Rana 10
Hearing two performers play the same piece in close succession seems to provide something close to a controlled comparison. One night after Sakata's performance, Nikita Mndoyants also played Mozart's Concerto No. 20.  Mndoyants  gave a polished reading of the concerto, but to my ears his Mozart lacks the incredible clarity and subtlety of Sakata's. Mndoyants plays with thoughtful inflections and considered phrasing; he's a very competent player, but he seems to lack an ineffable charisma and musical magnetism.

Fei-Fei Dong's performance of Beethoven's Piano Concerto No. 4 was very distracting to watch. She signals moments of high emotion by scrunching her nose, tilting back her head, and closing her eyes, as if she were perpetually on the verge of a sneeze. If this happened once or twice during a performance, it would be plausible as a genuine response to the music. But the ubiquity of the expression suggests it has hardened into a calculated mask meant to project pathos. Her playing fails to create the rapture her face strives to convey; her phrasing is often exaggerated and mechanical, and she has an unfortunate tendency to hammer at the keys. She's quite proficient technically, and she seems to have been coached on both visual and musical expression. But I never felt the originality and sincerity that make for a truly moving performance.
 
Where Dong is histrionic, Beatrice Rana (pictured) is pleasingly understated and restrained. She played Prokofiev's Piano Concerto No. 2 with great power and precision. The piece was a wise selection as her final performance; it demonstrated her versatility and range of repertoire. One of the advantages of a visually understated performance is that it focuses attention on the music. Rana seemed to have considered the meaning of each phrase; she does something slightly unexpected just often enough to hold your interest even in the midst of technical fireworks.
Written by Nick Romeo at 00:00
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