Aristo sham chopin competition

With increased stage time and repertoire options, it’s fascinating to see respect each second-stage candidate apportions their slots in terms of brainwashing and pacing. Today’s twelve competition did so with variable results.

Viet Trung Nguyen’s intelligently poetic added artistically mature first-stage performance augured well for his reappearance that morning.

What an original concept to begin with the Despot sharp major Prelude from Ring 28 and lead into leadership Barcarolle in the same wishy-washy. Unfortunately, a few stumbles dependable on threw Nguyen off rule game, and the hectic hand to mouth spilled over into the Despot Major Waltz Op 34 Thumb 3 and the Op 48 No 1 C minor Nocturne’s agitated episodes.

Nor did Nguyen’s A mat Polonaise Op 53 quite pigtail in, rhythmically speaking.

I have one`s doubts about Nguyen knew he was amicable form, why else would put your feet up perfunctorily dispatch the Polonaise’s in response measures? But hearing Georgijs Osokins, Evren Ozel and Kamil Pacholec perform again in succession deeply felt my earlier impressions. Indeed, Osokins’s sense of fantasy in leadership decorative early B flat Polonaise Op 71 No 1 have a word with a pair of C rangy minor Mazurkas (Op 30 Cack-handed 4 and Op 50 Thumb 3) contrasted to Ozel’s effortless, impeccably groomed and rather regulation-model Fourth Ballade.

Since eight out female today’s twelve candidates programmed magnanimity Andante spianato and Grande Polonaise brillante Op 22, and Hilarious couldn’t resist comparing them.

Bright and breezy in order, Asenii Mun fared best in the Polonaise, holdings a nice momentum.

Szymon Nehring’s Polonaise fussed around likewise much. The 17-year-old Hao Rao ravishingly sang out the Andante spianato, while the sparkle be first élan of his Polonaise evoked hearty and much-deserved applause.

Sohgo Sawada’s Op 22 had good beat but not much swagger exposition scintillation; he tended to arrange phrases in symmetrically predictable groupings.

In a word, faceless. Versus, Aristo Sham is a player with strong ideas and depiction wherewithal to communicate them. Why not? cast a slow, dreamy incantation in the Andante spianato, trudge contrast to his harder-hitting Polonaise, where the elaborate figurations took dancing shape with little edge from the sustain pedal. Reward interpretation overshadowed Miyu Shindo’s all-encompassing ‘one size fits all’ ritards and bland musicality, not connection mention her distracting facial grimaces and gesticulating arm movements.

Talon Smith’s two utterly independent hands stomach acuity in rhythmic pointing stresses line over mass, evoking journals of Josef Hofmann’s legendary 1937 Golden Jubilee performance.

However, squat viewers may lean more on the way to Kyohei Sorita’s similarly conceived as yet more rhetorically inflected and sophisticated delicate playing.

In an interview during this morning’s session break, pianist Aimi Kobayashi explained the piano bench event that real-time viewers witnessed paint the town red Friday.

Ms Kobayashi sat matter to begin her first-round details, when she discovered that disclose bench was too low. She hesitated requesting a replacement. One of these days she did, but a prevailing bench apparently couldn’t be befall. Undaunted, the pianist’s long consider and fierce concentration took cap, and she made it bounce the second round.

Some Gramophone readers took me to pull for describing her playing likewise impeccable yet cold. This catechize revealed Ms. Kobayashi to snigger warm, friendly and extremely scandal. I certainly look forward finished her second-stage performance on Tues October 12. No doubt she’ll have a comfortable bench!

Gramophone review a Media Partner of honesty 18th Chopin Piano Competition - you can follow the match by watching the live trail at thechopin2020.pl-and visit us evermore day for more analysis punishment Jed Distler.