Live Concert Review: Semifinal Finale Full of Surprises, Part I
By Mike Winter
Nobuyuki Tsujii on this Sunday afternoon helped to almost fill Bass Performance Hall for the first time during the competition. The blind-since-birth pianist has a huge following, and he delivered–not only the Fort Worth premiere of John Musto’s “Introduction and Fugue,” which is a delightful work of some ten minutes, well worth hearing, but also the real surprise for me: Nobu (as he’s called) gave a very impressive performance of Beethoven’s “Hammerklavier” sonata, which was one of the most amazing feats I’ve ever seen–the musical equivalent of Evil Knieval jumping the Snake River Canyon in Twin Falls, Idaho (where my wife comes from), except that Nobu made it across, no problem. A primal listening experience ensued as I watched Nobu select by memory the right notes, each of which he had learned by listening. I thought of Beethoven, in a sense in front of 88 keys, choosing the right notes to build this 35-minute masterpiece. Huge leaps landed right in tempo and on target. The most finger-busting, mind-bending fugal intricacies came out clearly. If anything, there was maybe a passage or two of Nubo’s own in there, but I can’t be sure. There was no hint of hesitation; he played it confidently and beautifully. I was inspired to memorize the Adagio myself (and that takes some doing). I kept having bizarre thoughts, like: is this some Joyce Hatto-like hoax? Does the little chef in the movie “Ratatouille” have a brother who’s a pianist, parked in Nubo’s large, black head of hair?
Haochen Zhang had the misfortune of following Nobu, because I had trouble getting into Zhang and the Takacs’s performance of the Schumann. I heard enough to say it went very well, though nothing really memorable, but to be honest, my mind was stuck in the Hammerklavier.
The second surprise was Michail Lifits’s recital. I am so glad the jury put him into the semis, because his unique way of music-making can be a great discovery, as it was today. Lifits makes a V-I cadence sound interesting, and he did, many times, in the Liszt sonata–one of the most beautiful readings ever. Even after four previous performances of that sonata here, Lifits’s version made the work fresh and absorbing. He can make the Hamburg roar with sound, or create the softest, richest pianissimo you can imagine, all while creating rich and wonderful phrases. Lifits then turned to the Hagen suite and gave it, from memory, the best performance of the competition. This could win the Best Performance of a Commissioned Work award. For the first time, the meandering middle movement didn’t wander. It made musical sense with Lifits’s superb sense of phrasing. The best surprise was last: the Prokoffiev 7th Sonata, but not fast and forceful as usual. Lifits shaped wonderful phrases; the power came from structure and momentum, not speed. His playing reminds me of Van Cliburn’s in this way. The slow movement’s repeated A-flat tolled like a death knell, reminiscent of Ravel’s “Le Gibet.” I wonder what Lifits would do with impressionistic music; he already plays with a wide range of sound color. A huge roar from the audience greeted the conclusion of the Prokoffiev, partly from the size of the crowd, but also in response to a stunning conclusion to an outstanding recital by Michail Lifits of Germany. Applause should also go to the jury.
June 1st, 2009 at 1:26 am
I think you meant “Nobu”, not “Nubo”
June 1st, 2009 at 1:45 am
Short for “Nobuyuki”, his name.
June 1st, 2009 at 6:44 am
And “Haochen”.
June 1st, 2009 at 8:21 am
I listened to him… and no matter how you spin it… he couldn’t touch Kunz… or Dang…
Cliburn missed it big this time…
June 1st, 2009 at 8:43 am
Tsujii’s 106 was an amazing performance, certainly, but like you, Mike, I felt that some of the passages in the fugue were more Tsujii than LVB. At the breakneck tempo he chose (or fell into, adrenalin-fueled) this was almost inevitable, and at times the race up and down the keyboard sounded more like Cecil Taylor than Beethoven.
June 1st, 2009 at 9:11 am
Are the rehearsals streamed? Where’s the schedule?
June 1st, 2009 at 9:59 am
Currently watching a rehearsal with James Conlon and I was wondering if since these rehearsals are publicly broadcast, does the manner in which the performer interacts with the conductor/orchestra during rehearsals have any impact on how these individuals are evaluated? For example, the pianist could appear collegial, engaged, open to ideas, etc. or display some other characteristics that might come across as more negative (e.g., if the pianist appeared confused about something, wishy-washy, or even inflexible, etc). Why are the rehearsals being broadcast at all?
My questions are not in response to any particular finalist, I just wonder if since the rehearsal is broadcast, it becomes another high stress situation rather than just a rehearsal. Is that intentional?
It is fascinating to watch the rehearsals, but it looks like it could be unnerving, knowing whatever one says or does in the rehearsal is being watched by people all over the world and may affect viewers’ impressions of the performer, if not the judges.
June 1st, 2009 at 11:01 am
@Lily: It is fascinating isn’t it?
I just saw the small smile on Tsujii’s face when he finished the cadenza - though Conlon is now trying to figure out the beats - which is understandably a difficulty when it comes to timing..
I’m curious how they’ll figure it out…
June 1st, 2009 at 11:02 am
So it looks like he’ll take his cue by breathing loudly for Tsujii to hear - though will it work with plenty of other orchestra members also breathing?
June 1st, 2009 at 11:14 am
Equally fascinating is to listen to the dustup going on between sessions with Bozhanov and the technician. He becomes (justifiably) quite angry when the tuner tells he can’t use his choice of instrument with orchestra because “no one uses the one you chose with orchestra because it’s too weak”. It was finally clarified later by the management, but this certainly adds to the stress the artists feel.
June 1st, 2009 at 11:23 am
Once again being priviledged to watch Nobu rehearsing has provided me with one of the most absorbing, fascinating and memorable experiences of the entire webcast. I loved hearing the complete long extended passages of the Rachmanioff being played so beautifully sans orchestra by Nobu.
Perhaps for others of us like myself, the orchestra actually WAS there, you just couldn’t see them. But in the mind’s eye & ear as Nobu played I heard them playing along with him.
I empathize and understand what Lily is saying in the concern expressed over what effect these one on one rehearsals with Conlon being broadcast are having on all concerned. As such I do have one question: Are the members of the jury allowed to watch these one on one rehearsals? I mean if they are not supposed to, it must be an honor system, as I know they would have access just like the rest of us to the webcast if they are not permitted to be in the hall at the time.
Just SO curious, what IS fully expected of the jury concerning watching the webcast and archives of interviews, rehearsals and such?
Back to all of us being blessed to see these rehearsals via webcast. To all concerned making it possible- Thank you, thank you, thank you! Merci beaucoup!
June 1st, 2009 at 11:25 am
Put your collar down Mr. Evgeni … and button one more button please. Thank you.
June 1st, 2009 at 11:25 am
Cliburn 2009 - thank you so much for letting us watch these rehearsals - fantastic!
June 1st, 2009 at 11:39 am
I echo what Rui says–thank you so very much for the webcasting of all the of Cliburn events. I am a piano teacher of nearly 50 years from a little town in Iowa who saw Van Cliburn in Minneapolis 15 years ago this summer. I was thrilled then and am thrilled now to have this wonderful privilege of hearing such an awesome event.
June 1st, 2009 at 11:46 am
I echo Dave at how wonderful it is to watch these rehearsals via the webcast. As a rank (and really rank!) amateur, watching them is incredibly instructive and deepens my understanding of the pieces.
Evgeni is really going thru this like a champ. He obviously has very clear ideas about how to play this Rach2.
June 1st, 2009 at 11:49 am
Evgeni does have an attitude. He does come across a little arrogant. James Conlon-the conductor is extremely patient.
June 1st, 2009 at 11:52 am
It’s fascinating to watch the rehearsals. Cliburn 2009 best site ever! Thanks!
June 1st, 2009 at 11:58 am
It’s fascinating to watch the rehearsals. The streaming job this competition has done is truly impressive.
June 1st, 2009 at 12:25 pm
Watching the very animated extrovert-dominant Evgeni in rehearsal, I almost get the feeling he would conduct the entire concerto while playing himself if he could. And now that we get to see him in a one on one rehearsal where he is clearly going to be the soloist as opposed to the chamber rehearsal, I see his extreme facial mannerisms as being completely who he is, and not in anyway artificial or manufactured.
What a HUGE contrast it was to see Nobu and Evgeni rehearse with Conlon back to back with the same concerto. Utterly night and day. Tsujii appears to be in this serene tranquill world and hardly even spoke to his assistant, but simply listened and took the smallest audible cues played on the piano by Conlon to proceed. Certainly I have never in my life seen a one on one concerto rehearsal like that in my life and may never again.
Evegni on the other hand was so excited and almost overly rushed to communicate his vision of how things should go he almost couldn’t wait for Conlon to finish a sentence before interrupting him or almost talking over what Conlon was finishing to say. From just these rehearsals it would seem Bozhanov is going to give us the far more impassioned and a bit faster reading of the Rach 2.
But I look very forward to both interpretations.
June 1st, 2009 at 1:13 pm
The orchestra rehearsal with Son has begun. She is using the score and turning pages herself which is even a better feat than in the Brahms Quinet.
I can just hear my mom saying- get that hair out of your eyes girl. I can’t wait to hear the performance of this concerto.
June 1st, 2009 at 1:15 pm
Is there an Archive for the rehearsal footage?
I missed some of the morning coverage.
Thanks for your help.
June 1st, 2009 at 2:00 pm
I missed Tsuji`s rehearsal. Darn it. I wish someone had recorded it…
June 1st, 2009 at 2:04 pm
@TY - he’s about to start (altho’ if you’re thinking of his one-on-one this morning, it was most interesting!)
@Esther - I don’t think they’re archiving rehearsals…
June 1st, 2009 at 2:09 pm
@Esther- I heard it announced last night that the one on one rehearsals would be archived but not the orchestra rehearals. For those not watching the orchestra rehearsals, imo if you have to stop everything you are doing to watch…..DO!
The contiuous roving camera views of the soloist will not be the same in performance and the whole process is completely absorbing. Because of how close the roving cameraman was to Son in the 2nd mvt double RH/LH runs I was getting CHILLS.
Son seems cool as a cucumber thru that rehearsal. Funny to see this beautiful young woman who came out in those gorgeous gowns with her hair perfectly fixed, to look so geeky in loose t-shirt tied up on the side, big glasses and stringy hair falling all over the place in her face. Anyhow, I am loving this concerto more and more, and seeing the rehearsal was quite intense.
On final thought about this concerto- It is one I simply cannot see Tsujii being very comfortable with at ALL.
June 1st, 2009 at 2:13 pm
I can’t beleive that Son scheduled Beethoven’s op.111. That is bold! IN my book, 111 is the most exquisite piece of music ever written. It is for mature artists, with respect and awe to all the pianists involved. Looking forward to it!
June 1st, 2009 at 2:23 pm
I am starting to worry about Nobuyuki… He is not saying much in Rachmaninoff…
June 1st, 2009 at 2:32 pm
I think he’s listening…and saving the emotion for the real performance (I hope;)
June 1st, 2009 at 2:39 pm
Alan, maybe he means that Nobu is deliberately just playing the notes now to time it with the orchestra and to stay together.
But I must say parts of his Beethoven had a meandering sound that I’m hearing in the Rach 2, so I hope he’s just in that mood to do a run through without the emotional part.
June 1st, 2009 at 2:41 pm
I downloaded the latest version of Silverlight and the player button is nowhere in sight. I don’t know what I’m doing wrong. At least I can listen to the actual performances on the radio station online.
June 1st, 2009 at 2:43 pm
Oh no, Nobuyuki, please dont make rubatos in every measure in the 2nd mvt (Rach). PLEASE! I beg you!!! You kill the line…And you will kill the woodwinds
June 1st, 2009 at 2:43 pm
It’s kind of upsetting to see that the camera is shooting way too close to Nobu comparing with Son’s rehearsal. I worry that he is bothered by it.
June 1st, 2009 at 2:45 pm
Ah, much better now, at 1:46pm pdt.
I was hoping for two days of relaxation from all this fascinating stuff but now I’m afraid to leave my computer for fear of missing a rehearsal, which I enjoy more than concerts!
June 1st, 2009 at 2:50 pm
I checked again and Silverlight is definitelly installed on my computer. Where is the player???
June 1st, 2009 at 3:14 pm
Or, maybe Conlon was wry and getting the orchestra ready for what he feels will be a TOO imaginative Bozhanov (in his view)
(I can’t get over Tsujii’s fast passagework when at high volume. How can he do that?)
I think it’s harder to pull this off together than the chamber piece was though. I’m on pins and needles over just whether they’re staying with him and vice versa.
June 1st, 2009 at 3:16 pm
I appreciate your kindness, Andrys, but I’ve worked with Mo conlon often enough to suspect that he was referring to Bozhanov’s extreme rubato performance that he also rehearsed earlier. Conlon has always had a sarcastic tongue that has not helped on occasion, although I was astounded to witness how patient he was with Bozhanov, who was quite argumentative (in an passionate, commited fashion, of course).
I think you have a double problem here. Tsujii is passive, to enable him how to figure out it will work - he’s shown some astoundingly quick reflexes in fast passages, but I suspect he’s counting on Conlon to give a stronger musical profile, while Conlon is politely laying back to accomodate a soloist, so the end result is incredibly passive. It is something the pianist will have to figure out if he wishes to be a succesful concerto pianist. Obviously the piece presents no real technical problems for him, it just seems he hasn’t the instinct for the sound of this composer in the way that Bozhanov does already.
June 1st, 2009 at 3:18 pm
@Andrys- I think very often I feel the same as you about enjoying the rehearsal more than the concerts. I am hoping as p2 said, that Nobu in the Rach 2 was just listening and getting comfortable staying with the orchestra and that we will hear the full emotion in the concert. The 3rd mvt. got some very nice energy and good tempo built up, but the 1st mvt. felt like it was dragging to me in several places. Especially after the opening chords, it seemed like Colon and the orchestra had to literally drag Nobu into a repsectable tempo.
Now I believe we will have a completely different version with Bozhanov. Wow, instantly bigger sound unless they just turned up the mic pickup sensitivity.
June 1st, 2009 at 3:20 pm
I haven’t been blown away with Bozhanov - until his conlon rehearsal. Now that’s a pianist. And I say this as a big Di Wu fan. This is the sound and concept this contest has been waiting for. For decades.
June 1st, 2009 at 3:22 pm
Ha, I love Bozhanov’s Rach rehearsal. I am afraid that his uniqueness is gonna cost him gold medal…. But he is the only one out of the whole competition group that is worth the medal…Everyone can play fast…Can you be one with the piano? Can you be one with the music like he is?
June 1st, 2009 at 3:22 pm
Hahaha, orchestra is a bit….just a bit…behind…. Come on people - wake up!!!
June 1st, 2009 at 3:30 pm
Evgeni, they can eat you for playing not together (left and right hands). Careful there!!!
June 1st, 2009 at 3:31 pm
Decades? Aren’t you getting just a bit carried away?
June 1st, 2009 at 3:32 pm
I enjoyed this exchange between Conlon and Bozhanov in the 1-on-1 rehearsal:
BOZHANOV: I prefer to make the accelerando earlier. It’s better structure that way.
CONLON: Oh … you think it’s better structure than how Rachmaninoff notated it?
BOZHANOV: Yes, better structure. (begins playing)
CONLON: OK, we’ll send him a letter.
June 1st, 2009 at 3:33 pm
Its like at times the piano volume in my headphones got boosted twice as high with Bozhanov. Evgeni certainly is a passionate and even fiery musician, but seems at times a bit hyper. Who was he continually looking at and making big gestures to out in the hall? Ironically, as big and fast as his playing is, b/c for me he tends to stretch and rush some phrases or suddenly take off, there were times he [the sighted pianist] and the orch were more off from each other than they were with Nobu.
June 1st, 2009 at 3:35 pm
Brad- LOL, I loved that exchange. Many thanks for remembering it perfectly and typing it out for us. That needs to be in an article and later in a book of favorite lines from the Cliburn. A rare gem indeed.
June 1st, 2009 at 3:37 pm
Maestra -
LOL> Thanks for being hall monitor, but I have the right to be enthusiastic.
Maestro A.
June 1st, 2009 at 3:37 pm
@Alan: I do think Bozhanov will take the gold, and that he can already feel it in his hands. I know it’s ridiculous to make predictions before the finals. I agree that he has a steely lyricism that hits a sweet spot for me. Watching rehearsals I’m starting to suspect he is a born concerto player who will wow us even more than he did in the recitals. My only concern is the danger of exaggerated playing — in rehearsal I’m not hearing much distinction between solo and accompaniment passages.
If it’s Bozhanov / Vacatello for gold/silver, it will be the most exciting result in years.
June 1st, 2009 at 3:38 pm
Ah, that come back to the recap in the 2nd mvt - made me teary…And see - his eyebrows are in place
Till the performance 
June 1st, 2009 at 3:38 pm
Any more rehearsals today?.. I caught only Tsujii’s…
We are on PDT.. so is there an evening session as well?
June 1st, 2009 at 3:39 pm
Brad, I agree. Bozahnov is heading for first.. or put it this way, he is almost there.
June 1st, 2009 at 3:40 pm
There’s a lot of distortion in his playing today, which I don’t like, but it is an original voice. Hysterical moment of the day - he wasn’t making faces, until you could tell that he had a closeup, when he started pulling a Lang Lang.
June 1st, 2009 at 3:40 pm
Maestro A - that’s OK, I love enthusiasm!
June 1st, 2009 at 3:47 pm
hahaha lol Zhenya - hold your horses
And aim 
June 1st, 2009 at 3:48 pm
Alan, yes, original always. He is ripping through the 3rd movement, mugging for the camera — the guy is a glorious ham with talent pouring out of him. the playing is exceptionally revealing, and I hope the jury doesn’t perceive it as anatomical. I think he’s going to grab the audience by their throats and shake the change out of their pockets.
He is not grimacing nearly as much in rehearsals. Earlier today I practiced a bit and tried to inject facials expressions to communicate the music. Normally I am unmoving and expressionless — to a fault, really. when I tried to sway around and make faces, it really screwed up my playing.
June 1st, 2009 at 3:50 pm
The fact that his facial expressions are just an act isn’t an endearing to me. Looks like we have another Lang Lang.
Nevertheless, he is talented. I would say he should win, but I certainly won’t be going to any of his concerts.
June 1st, 2009 at 3:53 pm
However, I would say he can’t play this sloppily and crudely and win this competition. His read with Conlon alone was much better, but disintegrated into crudeness by the third movement. I think he has some problems controlling the flow of adrenaline as plays. Age will take care of that, of course…….
June 1st, 2009 at 4:05 pm
I just found the one on one rehearsals are being archived under the Offstage menu (right besides the Semifinal archives).
Both Son and Tsujii’s rehearsals from this morning are already up.
June 1st, 2009 at 4:05 pm
And yes, another Lang Lang is EXACTLY what the world needs right now…UGH…
June 1st, 2009 at 4:08 pm
Well, as oppose to that Lang Lang, this one is alive!!! Despite some suspicious taste at times, but he is exciting!!! Not a computer…
June 1st, 2009 at 4:10 pm
While I have pondered that Bozhanov would win the gold before seeing this rehearsal I can see many more reasons now to think he will. However, his playing is also for me a bit too exaggerated, and there definitely was not enough distintion between the solo and accompaniment passages.
As I said, I think he gets a bit hyper, rushes tempos and then his musicality can become harsh and over-the-top. He also reminds me slightly of Keith Emerson in that 3rd mvt. FAST, FAST, FAST hyper playing. Stunning pyrotechnics and super-flash may indeed cause the audience to leap from their seats in stunned excitement and win him the gold. but it doesn’t always make for the best pure music making.
June 1st, 2009 at 4:54 pm
It’s fascinating that so many people believe an artist who re-writes composers will win this competition. I would hope not — that’s certainly not in the tradition of Mr. Cliburn himself. He has always brought new insight to what he played, but always did it based on what was on the page. I’m frankly not interested in the derring-do of brilliant young technologists who only want the music bigger, bigger, bigger — without regard to the integrity either of what the composer created, or what the music internally dictates.
June 1st, 2009 at 5:00 pm
Come on gentlemen.. There are vast chasms of artistry between Bozhanov and Lang Lang. I forgive Evgeni a little hyper-ness . He is so close ..
He won the Richter competition last year with essentially the same program he has presenting here. They did not award a first prize actually, so technically he was second. I am not too sure about the level of competitors he faced there though. They have a video recording of his concerts (Mozart No. 25 and Rach2 ) on the site and they are very good but the recording quality poor.
Re: Di Wu. She is really charming and engaged but her music is unmoving. She grazes the surface barely.. I would be stunned if she wins. That Davidsbuendlertaenze was forgettable at best..
June 1st, 2009 at 5:06 pm
Oh…darn work made me miss this! It is so sad they are not archiving these orchestra rehearsals, would be so easy to do! I presume all that went today are having a second rehearsal slot for their 2nd concerto pick??
Is there anywhere to see a rehearsal schedule for the finalists, I don’t want to miss these two guys again!! (Or Di Wu either!) Alas, I have little control over when work takes me away from the computer…but maybe if I can plan ahead..
June 1st, 2009 at 5:32 pm
The guy is all nerves that don’t seem to affect him much in concert, but in the rehearsal his tempi changes were abrupt without signalling Conlon (though they may have been written into the score from their talk earlier) and I was shocked when they were still in sync.
But there were times they weren’t, and Bozhanov let himself (benefit of the doubt) hit a lot of klunkers because it was rehearsal and he wanted the sweep rehearsed. I did notice that the instrumentalists in the background sort of burst into clapping with their instruments and I saw a delighted smile that was shared between three orchestra members when he did those SNAPs that he does .
I worry a bit that he has one kind of attack with a quick jump back but not much between that and the next level down. But nevertheless, I listened and watched intently (which was not happening with Tsujii). Son has amazing, disciplined abilities! But she tends to play so much of it so straight! More in the style of competition players. I admire what she does or can do, but it doesn’t get to me.
If B does get close to the Gold, they’ll probably have him share it for safer marketing. His extreme facial movements, I don’t mind that much though they are sometimes funny as he gets into the character of every note. But he will probably not be the most easy pianist for conductors. Some of his playing was more jerked around than I’ve heard it in other works this week.
The rapturous sections were very arresting! after he calmed down. Those got me. He doesn’t do the eyebrow things when he’s having a tough time with sections. But if he has time to think about the notes, then he does.
I don’t think it’s an act. I think it’s a nervous reaction and that it actually helps him.
June 1st, 2009 at 5:51 pm
Andrys, I agree with your comments about it being a nervous reaction that helps him. I really liked his playing early-on. But — watching him is beginning to wear me out. Besides the nervous tics, his other (nervous? arrogant?) mannerisms have become a big turn-off.
June 1st, 2009 at 6:17 pm
Never thought that Chopin was so boring, cold and unemotional man…
June 1st, 2009 at 6:20 pm
And who made the schedule? Di Wu of course is in the end, for the first prize…Together with Zhang…. Did they have a drawing?
June 1st, 2009 at 7:04 pm
Does anyone know the logic behind the rehearsal/performance schedule for the finals?
It must be challenging to juggle programming with orchestral personnel, e.t.c., but I’m wondering why Kim, Bozhanov and Tsujii’s rehearsals were all scheduled today, when they perform near the end (Kim and Bozhanov only play both their concerti on Friday and Saturday).
Is this an unfair disadvantage to have a longer time between rehearsal and performance? Also, being the “first” rehearsal for the orchestra on this repertoire, more time is spent working on their tutti now than would be in subsequent rehearsals for identical concerti .
June 1st, 2009 at 7:07 pm
Earlier I opined after watching Evgeni’s 1 on 1 with Conlon that his facial movements and mannerisms are truly part of who he is and not manufactured or artificial. His natural impassioned feelings about the music, how it moves him and how he thinks it should go reflects on his face. And YES, I do think the excitement of the wonderful situation before him might cause them naturally to increase a bit more than normal.
I agree with those who believe he will mellow over time and probably mature further in his musical interpretation. In the concerto there did seem to be too much of playing just one way, except in the most extreme lyrical and soft sections which were beautiful.
June 1st, 2009 at 7:18 pm
I get to like Nobu but Evgeni’s music is so much more charming.
June 1st, 2009 at 7:49 pm
Notice how Conlon hardly has to watch Tsuji while he’s conducting. There are many beautiful passages–Chopin’s music suits him–but it’s too straightforward, something I never detected until now in his playing. I don’t know why but it doesn’t “feel” totally like Chopin to me. I hear the sparkle and brilliance but I don’t hear the heroic undercurrent of Chopin for his beloved Poland. It’ll be interesting to see how Bozhanov takes the piece.
June 1st, 2009 at 8:15 pm
I am loving Bozhanov’s Chopin e minor!!
June 1st, 2009 at 8:15 pm
Bozhanov’s Chopin is so, so very beautiful, just exquisitely perfect. It just makes me melt.
June 1st, 2009 at 8:17 pm
I think Conlon enjoys working with Bozhanov!
June 1st, 2009 at 8:29 pm
Andrys — very incisive comment.
Here are all three rounds of Bozhanov at the Richter Compeition last year–
http://rutube.ru/search.html?search=bozhanov&x=25&y=9
June 1st, 2009 at 8:30 pm
I’m also loving it. It’s been a very fine rehearsal. I think I like his version better than Nobu’s…more lively.
June 1st, 2009 at 9:03 pm
@Brad:
THANK YOU for sending the earlier Bozhanov recordings. I do find him an interesting pianist, and obviously a huge talent. It will be so interesting to see what happens now. I have had to come home (to Austin) after watching the semis live and am now having withdrawal, so seeing all of these things is just great.
(By the way, I know that Zhang is very young, but don’t discount him for a medal!)
June 1st, 2009 at 9:16 pm
@brad: Also thanks for the links to Bozhanov at the Richter. Interesting that RuTube’s suggested related links include the “NBA All-Star Slam Dunk Competition”. Maybe not so very different from these piano slugfests!
June 1st, 2009 at 9:23 pm
Thanks, Brad. I did watch two sets the other night. Too bad the tape was not winding right in the piece before the Chopin Sonata 3 and then the tape went into ‘wow’ land in the last 3rd of that and wasn’t synced at all (several measures off). Also, in the first set, the Rondo was named first but it came much later.
I love his playing, overall, and I do think I’d get a seat further back.
Today I especially loved (sorry that word keeps popping up) his Chopin PC rehearsal. The lilt of that music, the improvisatory quality, the attention to tone, and less nervousness, were all there.
Enjoyed Conlon stopping to see what Bozhanov’s preferred tempi were in a couple of spots when they were not quite together and then he said he would listen to that and do it that way and Bozhanov would follow him while he did that
Decidedly more mellow, B, than he was in the Rach 2 rehearsal in the a.m.
Very gorgeous music-making in the Chopin. Looking forward to it all.
June 1st, 2009 at 9:35 pm
Evgeni Bozhanov’s rehearsal of the Chopin Piano Concerto No.1 was heavenly. He played it with so much expression and feeling, especially in the slow movement. If he plays it like that in the finals he stands a good chance of winning the competition.
I heard Nobu’s performance earlier, and he also played it beautifully, although I thought Evgeni’s was more interesting and varied.
June 1st, 2009 at 10:42 pm
I thought Nobu was much better in the Chopin than the Rachmanioff. But Evgeni’s Chopin better yet, it just sparkled with more energy and charm, especially in the last mvt. The 2nd mvt displayed a great range of emotion and feeling which moved me more than anything in the Rach 2 rehearsal. And yet again, the moment he touches the keys, that piano sounds bigger, more sonorous and full. Interestingly he went thru entire long passages with nary a facial quirk. He was almost utterly serene.
In both concertos he certainly reminds us that he has some killer chops. There may be no stopping him. I’m now reflecting back to how Mike Winter began this thread when he likened the amazing feat of Tsujii’s Hammerklavier to Evil Knieval’s motorcycle jump across the Snake River Canyon. Tonight while I watched Evgeni leaning back on his custom seat, with both hands a nice space apart and head tilted a bit up with the music just pouring out….. I got the oddest impression of him riding his supercharged Harley Davidson Piano to the stars. Maybe I’ll get that sensation again during the concerts.
June 2nd, 2009 at 8:27 am
@Robert Finley: hey, good to see you here. Congratulations on your recently completed Boston Amateur. I spoke to one of the competitors, who had a good time and said would definitely do it again.
@Dave: Love that Bozhanov/Knieval comparison.
June 2nd, 2009 at 8:35 am
Just a couple observations that might give a bit of insight:
Firstly, Bozhanov was in the Dublin International Piano Competition which ended just a week before this one, and he didn’t make it past the semifinals. That’s not to discount his playing, I think most of it is quite wonderful. What I heard from the jury there, is that they were quite polarized by his…..individuality. Half of the jury loved him, and half didn’t at all. Knowing this fact may give you a glimpse into how this jury is feeling. Of course, different competition, different jury– it may be completely untrue.
Secondly, I didn’t watch all of Bozhanov’s rehearsal with Conlon, but I did watch most of Yeolum’s. I was quite taken aback by how suggestive Conlon was. He was, from time to time, making comments and suggestions in a way that made him look to me like he was giving a piano lesson to a child.
Yeoleum is not a kid, she already has a fairly substantial career, and has most certainly played with orchestra plenty of times. Of course, as a deferential Korean, she did not say anything back to him. But I can only imagine that if someone had a bigger ego, and a strong musical personality, that this talking down could stoke a few confrontations.
I’m really not sure if that was Conlon’s intention or not; he seems like a perfectly nice man and a wonderful conductor. That being the case, though, I’ve never had a conductor tell me in a rehearsal setting things like, “be sure to play with character!” like he said to Yeoleum about the second movement of the Prokoviev. Imagine if she said to Conlon, “Be sure to conduct this section with character and musicality!” I personally don’t think that would go over too well.
In any case, watching the rehearsals was extremely enlightening, and I thank the Cliburn staff for making them available.
June 2nd, 2009 at 9:33 am
I reviewed the appearances by Bozahnov at the Richter competition, then I went over to you tube to catch his Cliburn semi of the Beethoven E flat that I had missed.
I was not that taken by his approach to Beethoven.. but I enjoyed the Mozart concerto at Richter.
I also liked his Mozart K.311 at Cliburn..
June 2nd, 2009 at 9:42 am
It seems, success in these ensemble type situations (quintet, concerto), depends a lot on the personal side, whether the parties share similar conceptions or not.
No matter how special one’s interpretations, one cannot always show it if the others don’t cooperate, and the more sensitive, colorful players often lose out this way, either because the conductor simply doesn’t see it that way, doesn’t like the soloist enough to accommodate, or there is simply no time in rehearsals to risk ensemble working out nuances.
On one hand, it’s nice that Conlon and even the quintet coaches/coached the competitors. However, it can be discomfiting to know that he wants things different than what one does (tempo, timing e.t.c.), especially if they are many spots like that, which gets awkward if one is too differential, or too set in one’s ways. While a great musicians should be flexible and open-minded, it is a dilemma at times whether to maintain a pleasant working relationship doing what you are not fully convinced about, or to fight tooth-and-nail for what you are convinced about.
The best situation is when both parties are instinctively on the same page, and despite differences, can subtly adjust intuitively without much discussion. Sometimes, amazing performances are created after much conflict and subsequent resolution, while other times, when everything works out smoothly, the performance is rather run-of-the-mill because everyone is just going with the normal musical flow, which at this level is top-notch, but isn’t special.
Another observation, sometimes when the other musicians are too silent, it could also mean that they don’t really care, and don’t bother to invest effort trying to really work things out.
June 2nd, 2009 at 9:54 am
I’m having the pleasure of watching Vacatello’s rehearsal with Conlon. Lovely Beethoven 4, but she’s handling the interaction with great natural charm and ease. I’d love to see her bring more of this to the stage, perhaps nerves are getting in the way. She seems to be a lovely person, as well as one hell of a pianist.
June 2nd, 2009 at 10:02 am
I agree completely! I think it’s going to be a gorgeous performance.
June 2nd, 2009 at 10:02 am
I agree completely! I think it’s going to be a gorgeous performance.
June 2nd, 2009 at 10:18 am
Haochen shapes things so beautifully in the Mozart and without any hint of affectation. Just natural and beautiful.
<< I’m still not sure why Conlon is giving a lecture. Is this not a collaborative rehearsal?
June 2nd, 2009 at 10:19 am
Watching Conlon with Hoachen. Definitely approaching it as teacher-student.
June 2nd, 2009 at 10:20 am
Much agee with Alan about the grace and charm Vacatello displayed in her time with Conlon. Indeed she appears very warm and genuine. A very thoughtful soul.
I also wanted to comment on what Eric Zuber said about Conlon’s interaction with Son as it relates to the other piansts. I too notice at points he seems to say things to them as if they had not already played concerti or their particular one with orchestra and fine conductors many times. Maybe he is being careful to assume nothing and from my tiny perspective peeping in on these rehearsals nothing but sincerity and care seems to come forth from him in any case.
He has in subtle ways treated different contestants differently. For example with Bozhanov it seemed he had met his match and was different with him than others. [btw- I still remember that he assumed Evgeni was Russian, and thought he would have known better beforehand]
I remind myself that Conlon is dealing with a LOT and with all these many individuals in a short space of time. I suppose I should not read too much into all these interactions with them which in a way I should NOT be able to be a fly on the piano hearing and seeing every little private moment. But I AM. Amazing, this technology and near voyeur experience the Cliburn is bringing us.
June 2nd, 2009 at 10:31 am
I agree with Alan and Dave that, yes, I’m sure he’s perfectly sincere and well-meaning; and yes, we’re not technically supposed to be watching this anyway!
I’m sure he has a wealth of experience which make his comments worthwhile. I’m just surprised that he’s choosing this venue to make his statements.
Maybe the pianists would react much differently than I.
June 2nd, 2009 at 10:32 am
It’s marvelous to watch Colon lecture Haochen about D-minor and death in Mozart, or the profoundness and simplicity of Mozart’s composition, but be technical with the older players like Vacatello. I guess it’s hard to see a boyish 18 year old in front of you and not question his understanding of the music.
June 2nd, 2009 at 10:45 am
Thank you Anton. I know I have a rather limited amount of experience just being 24, but in all my life, I’ve never seen anything like this. It’s almost hard to watch.
June 2nd, 2009 at 11:01 am
Those who have seen the many program videos of Conlon over the years working with the pianists 1 on 1, and with orchestra, of course know this tempi adjustment/correction master class he repeatedly adds to his rehearsals is a Conlon hallmark.
June 2nd, 2009 at 11:27 am
Thank you so much for the webcast. The quality of the video and audio is outstanding. My wife and I have enjoyed many hours of these wonderful performances.
The streaming technology that you are using is second to none. Your technical staff are to be commended. I can’t thank you enough for the effort you have obviously invested in this event.
Sincerely,
Rick & Cathy
June 2nd, 2009 at 11:32 am
Very interesting to get Eric’s and Anton’s perspectives.
Eric’s last point is what keeps occurring to me, watching the rehearsals: Conlon is asking these contestants to change decisions they have certainly made with their teachers, and honed to execute in the competition.
June 2nd, 2009 at 11:52 am
Folks: I’ve put up a new post about rehearsals. As I wrote in it, please feel free to repeat yourself over there. Thanks.
June 2nd, 2009 at 12:08 pm
Eric- I most enjoyed your personal perspective from your competition experience. Thank you for sharing.
June 2nd, 2009 at 12:34 pm
To Eric Zuber: I apologize if I misunderstood you when you wrote “what I heard from the jury…” . I suppose I must be naive, but I am surprised to hear that jurors in an international competition like the one you mentioned would talk to you, another competitor, about their opinions of someone who did not make it past the semifinals. It seems unprofessional and kind of gossipy for jurors to talk about those things outside of the judging situation since I doubt the individual “votes” are ever publicly disclosed.
June 2nd, 2009 at 1:16 pm
Bozhanov was a huge matter of discussion for everyone at Dublin. He had an absolutely huge following among the audience, and everyone was flabbergasted that he didn’t make it into the finals. After hearing his playing here, I can understand why. He is an extremely sensitive musician and a fantastic artist. His Beethoven Sonata was especially enjoyable for me. Full of humor and bite-
It wasn’t a matter of gossiping, nor did I ask jury members for their personal opinion, but many of us were surprised that he wasn’t included, and were curious as to the reason why. I’m very happy for his success here and I wish him all the best for the finals, I’m sure he will be marvelous.
June 2nd, 2009 at 1:59 pm
I find Evgeni to be a tremendous artist. None of his tiks or quirks bother me in the least. His bench reminiscent of Glenn Gould’s, as with his tiks.
Knowing Conlon from my Aspen days, he is appreciating someone who will stand up to him a bit and put a personal stamp on the performance.
For me, I wouldn’t mind if Bozhanov unbuttoned MORE buttons on the shirt. FYI - he smells great!
(this I noted from sitting behind him at the announcement)
June 2nd, 2009 at 7:21 pm
Since the subject has been brought up, Naomi Kudo won 5th prize in the Dublin. Just shows the big differences that can happen with judging, presuming that everyone performs at their best.
It must be interesting to know these pianists’ playing intimately (from competitor and juror perspectives).
It tends to be the same group of competitors and judges that make the rounds, and after a while, everybody knows each other.
June 4th, 2009 at 2:23 am
FYI- the buttons of his shirt concern only..!!!
Speak about his music,please!
Thank you