2022 Cliburn Competition starts

[Rach3]

Started yesterday. Here is some info:

https://cliburn.org/2022-competition-ro ... epertoire/

I'm watching USA's Clayton Stephenson right now, only one I will hear, but others may wish to, thus this post.

[Rach3]

Decided to follow these 2 Americans (only) as far as they go. Both got past Prelims and now in the Quarters.Am not following American Katie Liu. The Aussie ( Shuan Hern Lee) I thought to hear, too, but he did not make it past the Prelims.

Andrew Li

https://www.youtube.com/watch?v=zcqthvrc5D0&t=61s ( Stravinsky "Petrushka",LisztRhapsody # 6)

https://www.youtube.com/watch?v=_i6bgDi8b3c (Beethoven Op.34 Variations,Brahms "Paganini" both Books)

Despite nailing the Stravinsky,Liszt, the Brahms Book 1 did not go well, an indication how difficult is the less ostentatious Brahms. Book 2 went much better , although a bit quick.Li may not advance to the Semis.

Clayton Stephenson

https://www.youtube.com/watch?v=6XzFkNfQ87E ( Stravinsky / Agosti "Firebird" , Godowsky "Fledermaus")

https://www.youtube.com/watch?v=5yLRNpZKPrk ( Liszt Ballade No.2,Prokofieff 7th Sonata)

On the strength of his Liszt, I think Stephenson will advance to the Semis.

Standing ovations appear to be the norm . Of course, everything is bigger in Texas ; or used to doing so at Trump rallies ?

[maestrob]

Thanks for those, Steve. I will hear them this afternoon & tomorrow.

[Rach3]

On the recommendations of some knowledgeable friends, heard 2 more, and will now probably follow them as well as the playing was noteworthy:


Yunchan Lim,Prelim, https://www.youtube.com/watch?v=5wRz-uVNrJs (Hough,Couperin,Mozart,Chopin)

Masaya Kamei,Quarter, https://www.youtube.com/watch?v=hRYsiFgbrVc (Bach,Liszt,Rachmaninoff)

[slofstra]

Thanks for this update, Rach3.

I'm not unusual in that my first acquaintance with this festival was through an extraordinary NPR documentary 'Playing on the Edge'.
Out of curiousity, I checked Olga Kern's page on wiki, and see she is still very active, and involved with another piano competition in Albuquerque, New Mexico.
The other prize winner that year, Stanislav Ioudenitch, also is doing well in the academic world.
https://www.oberlin.edu/news/stanislav- ... no-faculty

[Rach3]

Thanks for this update, Rach3.

You are welcome !
Fww, of interest might be the book one Joseph Horowitz did in 1990, "The Ivory Trade " about the Cliburn Competition , very critical about the Cliburn and competitions in general. Not sure much has changed since.

[slofstra]

Thanks for this update, Rach3.

You are welcome !
Fww, of interest might be the book one Joseph Horowitz did in 1990, "The Ivory Trade " about the Cliburn Competition , very critical about the Cliburn and competitions in general. Not sure much has changed since.

Without reading it, I'm quite sure I can get the trend of thought involved. I admit that I'm the kind of person that likes competitions, and I also enjoy ranking things, but not without some sense of the limited value of such exercises.
Competitions like the Van Cliburn often represent a career start for worthy musicians, and function as a gate keeping exercise. The people who control the purse strings want to ensure their finite financial resources are used as effectively as possible, and thus exist, all kinds of tests, rankings, competitions, et cetera, through which young performers can establish a level of credibility. I would hope that any critique of such efforts would look at how competitions could be more effective as an exercise, rather than merely wishing such things did not exist.

Then there are magazine rankings, Grammy and Gramophone prizes for public consumption. When I began listening more avidly, one of the magazines of the day was running a series of issues on 'top 20 tenors of all time', 'top conductors', 'violinists', 'pianists', 'ondes martenot' (one of the preceding is bogus), et cetera. I found these very useful as an entry point for musical discovery, and that's how they should be viewed. Not definitive and somewhat subjective. No horrible, or mediocre performer or performance will win a Gramophone prize, so there is value to the endorsement. Grammy's? Mmmm, not so sure.

[Rach3]

You make good points, competitions necessary evils I guess. It does worry when I see An, whose playing was good enough to be one of the 6 Finalists in Moscow,2019,(suffering a disasterous concerto mixup there not at all his fault), be eliminated after his very first recital in Texas ; Osokins , a veteran of many competitions , still feeling the need to yet go to Texas for one more and then also get eliminated after his first recital ; competition winners a year or more after their win still playing only their two competition solo programs and concerto ; and Fall, 2021 Chopin winner Bruce Liu saying in a Feb.,2022 interview he was tired of playing the Chopin E Minor Concerto after 13 , or 17, times since winning.

[slofstra]

You make good points, competitions necessary evils I guess. It does worry when I see An, whose playing was good enough to be one of the 6 Finalists in Moscow,2019,(suffering a disasterous concerto mixup there not at all his fault), be eliminated after his very first recital in Texas ; Osokins , a veteran of many competitions , still feeling the need to yet go to Texas for one more and then also get eliminated after his first recital ; competition winners a year or more after their win still playing only their two competition solo programs and concerto ; and Fall, 2021 Chopin winner Bruce Liu saying in a Feb.,2022 interview he was tired of playing the Chopin E Minor Concerto after 13 , or 17, times since winning.

Do they tend to give 1 gold, 1 silver, et cetera, or award the medals based on the level of playing? It should be the latter. i.e. if you play at a "gold" level, you win a gold prize. If no one does, there is no gold prize.
In addition, they should have special awards based on playing new or more obscure repertoire.

[Rach3]

Do they tend to give 1 gold, 1 silver, et cetera, or award the medals based on the level of playing? It should be the latter. i.e. if you play at a "gold" level, you win a gold prize. If no one does, there is no gold prize.

In addition, they should have special awards based on playing new or more obscure repertoire.

Yes, basically that is the routine, sometimes awards for " best " playing of standards , such as Chopin mazurkas in Warsaw.

Fww, I have listened sometimes to the Honens Competition.

[maestrob]

Competitions are indeed a necessary evil the way things are set up now, but I wonder if there is a better way. They certainly give young artists a chance to not only be heard, but establish personal connections with conductors and jury members who will advance their careers. This was the major benefit (aside from cash prizes) for the young singers I would present in Carnegie Hall. Certainly such connections helped the dozens of young singers who went on to careers both here in NY and abroad.

A better way might be found, though by sending scouts around to hear performances of young artists and evaluating them based on less emotionally stressful circumstances, then awarding grants for lessons and career advancement. I know that there is one organization that does this, but I can't think of their name right now.

[slofstra]

I watched the performances last night - the final segment of the "quarter finals".

Fantastic entertainment. I saw three amazing recital performances, each consisting of 2-3 items from the repertoire, that tended to be highly demanding: Beethoven's 28th piano sonata, Scriabin, et cetera.

I noted that each of the 30 entrants must prepare for pieces right through to the final, even though most won't reach the final.
As an example, here is what 18 year old Yunchan Lim has had to prepare:

Preliminary Round

HOUGH Fanfare Toccata
COUPERIN “La Couperin” from Pièces de clavecin, Book IV, order 21
MOZART Sonata No. 9 in D Major, K. 311
CHOPIN Variations on “Là ci darem la mano,” op. 2

Quarterfinal Round

BACH “Ricercar a 3” from The Musical Offering, BWV 1079
SCRIABIN Sonata No. 2 in G-sharp Minor, op. 19 (“Sonata-Fantasy”)
BEETHOVEN Variations and Fugue in E-flat Major, op. 35 (“Eroica”)

Semifinal Round – Recital

LISZT 12 Transcendental Etudes

Semifinal Round – Mozart concerto

MOZART Piano Concerto No. 22 in E-flat Major, K. 482

Final Round – Concerto I

BEETHOVEN Piano Concerto No. 3 in C Minor, op. 37

Final Round – Concerto II

RACHMANINOV Piano Concerto No. 3 in D Minor, op. 30

Commentator Angela Chen noted that entrants might prepare for a full year just for this competition.

My question - do all entrants receive an appearance fee? They should. If not, I question whether this "competition" is just a way to get talent to perform for free. Musicians of every stripe are well acquainted with the many ways they can be co-erced into receiving nothing for their labours.

[Rach3]

My question - do all entrants receive an appearance fee? They should. If not, I question whether this "competition" is just a way to get talent to perform for free. Musicians of every stripe are well acquainted with the many ways they can be co-erced into receiving nothing for their labours.

https://cliburn.org/2022-competition-application-rules/

https://cliburn.org/2022prizes/

It appears each of the 30 get at least $1000 plus some expenses.From their resumes, it appears all the 30 have other financial support , and have had for some time, and given the publicity I suspect would be glad to play for free.

[Rach3]

Yutong Sun plays 2 beautiful,brief Preludes of Ukrainian composer Boris Lyatoshynsky:

https://www.youtube.com/watch?v=R4ByYODsHzo At 31:45 in.

[slofstra]

My question - do all entrants receive an appearance fee? They should. If not, I question whether this "competition" is just a way to get talent to perform for free. Musicians of every stripe are well acquainted with the many ways they can be co-erced into receiving nothing for their labours.

https://cliburn.org/2022-competition-application-rules/

https://cliburn.org/2022prizes/

It appears each of the 30 get at least $1000 plus some expenses. From their resumes, it appears all the 30 have other financial support , and have had for some time, and given the publicity I suspect would be glad to play for free.

Okay, good to know! It does seem that $1000 is a bit on the cheap side though.

[Rach3]

Yutong Sun plays 2 beautiful,brief Preludes of Ukrainian composer Boris Lyatoshynsky:

https://www.youtube.com/watch?v=R4ByYODsHzo At 31:45 in.

If Clayton Stephenson wins the 2022 Cliburn, this recital was one of the reasons.If not, the small problems he had early in the 3rd mov. of the Brahms may be a reason. Regardless, hear the Liebermann “Gargoyles “ at least ; the Brahms and Beethoven are also magnificent :

https://www.youtube.com/watch?v=6E4H2B4kx9g

Beethoven " Waldstein ' ; Libermann "Gargoyles" ; Brahms Piano Sonata # 1.

[maestrob]

Masaya Kamei,Quarter, https://www.youtube.com/watch?v=hRYsiFgbrVc (Bach,Liszt,Rachmaninoff)

Listening to Masaya Kamei right now in the quarterfinals, an outstanding musician. His Bach was among the best I've heard, as was the Liszt. He has much depth and many colors, never bangs and has a keen understanding of the piano as if it were his own chosen instrument. I predict a medal for him, silver or gold.

The volume on these is remarkably low: I really had to crank up my stereo to really appreciate these young artists.

https://www.youtube.com/watch?v=5yLRNpZKPrk ( Liszt Ballade No.2,Prokofieff 7th Sonata)

The Liszt and Prokofiev by Clayton Stephenson were both extraordinary for a 23-year-old. I am consistently in awe of the depth and dexterity displayed by these young pianists. For Stephenson I also project a well-deserved medal. He's a miracle of understanding and good sense.

[Rach3]

You will also then want to hear Kamei’s Semi recital, “Waldstein”, “La Campanella”, “Gaspard”,”Islamey”, although I wish he had played something other than the Liszt.He has an interesting choice for the Semi required Mozart concerto, #19.

Many have criticized the Competition’s audio.Apparently always a problem with the Cliburn.It does not seem much better in the Semis despite different hall.

[Rach3]

On the recommendations of some knowledgeable friends, heard 2 more, and will now probably follow them as well as the playing was noteworthy:

Yunchan Lim,Prelim, https://www.youtube.com/watch?v=5wRz-uVNrJs (Hough,Couperin,Mozart,Chopin)

If there ever was a YT to download, the Semifinal Cliburn recital of Lim would be one. Not only staggering technically, but interesting and at times revelatory musically. Live ? Under this pressure ? From an 18 year-old ? Played Nos.9,10,11,12 attaca.

(Air quality alert and outdoor air temp at time of recital 95-97 F. Yes, air conditioning , but in a large hall ,still warmer than usual ).

I have heard , and in some cases have, recordings live and studio of , among others, Trifonov, Goerner, Cziffra,Bolet,Richter, Bauvozet. For me, Lim at the very least equaled, probably exceeded all. Lim does not understand these works are difficult. Lim had my attention immediately in # 1.

One of the great recitals I’ve heard of anything by anyone.

https://www.youtube.com/watch?v=4GbM6qv6zsY

[Rach3]

Many have criticized the Competition’s audio.Apparently always a problem with the Cliburn.It does not seem much better in the Semis despite different hall.

I stand corrected ; the sound in the Semis is now better today.

[Danny]

On the recommendations of some knowledgeable friends, heard 2 more, and will now probably follow them as well as the playing was noteworthy:

Yunchan Lim,Prelim, https://www.youtube.com/watch?v=5wRz-uVNrJs (Hough,Couperin,Mozart,Chopin)

If there ever was a YT to download, the Semifinal Cliburn recital of Lim would be one. Not only staggering technically, but interesting and at times revelatory musically. Live ? Under this pressure ? From an 18 year-old ? Played Nos.9,10,11,12 attaca.

(Air quality alert and outdoor air temp at time of recital 95-97 F. Yes, air conditioning , but in a large hall ,still warmer than usual ).

I have heard , and in some cases have, recordings live and studio of , among others, Trifonov, Goerner, Cziffra,Bolet,Richter, Bauvozet. For me, Lim at the very least equaled, probably exceeded all. Lim does not understand these works are difficult. Lim had my attention immediately in # 1.

One of the great recitals I’ve heard of anything by anyone.

https://www.youtube.com/watch?v=4GbM6qv6zsY

Rach 3,

Thanks for your recommendation.

After reading your post I listened to his 12 Transcendental Etudes by Liszt.

My thoughts are:

1) Playing any one of these etudes is difficult.

2) Playing 12 of these etudes one after another is difficult x 2.

3) Playing 12 of these etudes one after another with such precision, range of color and depth of understanding is difficult x 3.

4) Playing 12 of these etudes one after another with such precision, range of color and depth of understanding at age 18 is difficult x 4.

[Rach3]

Glad you enjoyed Lim,Danny.

[maestrob]

On the recommendations of some knowledgeable friends, heard 2 more, and will now probably follow them as well as the playing was noteworthy:

Yunchan Lim,Prelim, https://www.youtube.com/watch?v=5wRz-uVNrJs (Hough,Couperin,Mozart,Chopin)

If there ever was a YT to download, the Semifinal Cliburn recital of Lim would be one. Not only staggering technically, but interesting and at times revelatory musically. Live ? Under this pressure ? From an 18 year-old ? Played Nos.9,10,11,12 attaca.

(Air quality alert and outdoor air temp at time of recital 95-97 F. Yes, air conditioning , but in a large hall ,still warmer than usual ).

I have heard , and in some cases have, recordings live and studio of , among others, Trifonov, Goerner, Cziffra,Bolet,Richter, Bauvozet. For me, Lim at the very least equaled, probably exceeded all. Lim does not understand these works are difficult. Lim had my attention immediately in # 1.

One of the great recitals I’ve heard of anything by anyone.

https://www.youtube.com/watch?v=4GbM6qv6zsY

Lim played the Transcendental Etudes extremely well, but not quite fully mature in his interpretation. Thought one of them was rushed more than a bit, but he deserves acclaim for his effort. I do prefer Bolet, Trifonov or Arrau in these. He's just not quite ready, IMHO. Sorry for the cold shower...

[Rach3]

... Sorry for the cold shower...

NO problem. We learn as much by disagreement as by agreement.

Having been married for 44 years , with two 30-something sons, I've been "corrected" often !

[Rach3]

Competition jurors surprise, and disappoint, me. Finalists:

Dmytro Choni, Ukraine, 28
Anna Geniushene, Russia, 31
Uladzislau Khandohi, Belarus, 20
Yunchan Lim, South Korea, 18
Ilya Shmukler, Russia, 27
Clayton Stephenson, United States, 23


I felt Sun,Kim,Kamie, possibly even Tadokorow, played better than Stephenson and Choni,especially Choni. Lim was a correct choice.

I did not , and wont , hear the 2 Russians nor the Belarusian , but they must have been VERY good to better my other top 4 above.

The concertos start Tuesday.

[maestrob]

Competition jurors surprise, and disappoint, me. Finalists:

Dmytro Choni, Ukraine, 28
Anna Geniushene, Russia, 31
Uladzislau Khandohi, Belarus, 20
Yunchan Lim, South Korea, 18
Ilya Shmukler, Russia, 27
Clayton Stephenson, United States, 23


I felt Sun,Kim,Kamie, possibly even Tadokorow, played better than Stephenson and Choni,especially Choni. Lim was a correct choice.

I did not , and wont , hear the 2 Russians nor the Belarusian , but they must have been VERY good to better my other top 4 above.

The concertos start Tuesday.

From what I've heard, I'm pleased for Lim and Stephenson. Perhaps a gold for Stephenson & silver for Lim? I'm also disappointed about Kamei, who played very well IMHO.

I haven't heard the Russians either, so my ability to predict is limited, to say the least.

[Rach3]

From what I've heard, I'm pleased for Lim and Stephenson.

Stephenson has made a courageous choice by playing the Gershwin Concerto in F.
He’s also playing Rach 3. Lim is playing Beethoven 3, also a gutsy choice, and Rach3.

[slofstra]

I've now watched 3 complete concerts and hope to get some more in this week. It's quite relaxing and stimulating at the same time. There's something about watching the performances live that makes it extra special. At some point I'll back fill with some of what I missed. The technical standard is incredibly high and the repertoire selected has also been highly interesting. (Like Anna Geniushene on Sunday).

I notice that you can now select a specific performer and watch just that person's performances, a very nice feature for reviewing the ones I missed.

Two of the 3 concerts I watched had exactly the same performers: Shin, Schmukler and Lim. In the third I watched Park and Anna Geniushene. I can certainly see why Schmukler, Lim and Geniushene went forward. Of the three, Lim and Geniushene seem the most promising.

I wondered how the 6 semi-finalists who played the Mozart Piano Concerto 20, k.466, did as a group. Only 2 of them went forward. Thus, of the 6 not going forward, 4 had picked the k.466 as their Mozart selection. Perhaps a bad choice as the popular pieces tend to create a higher level of expectation with the audience. With the judges? No idea, but I wonder.

In the final round, we'll hear the Rach PC#3, three times. Twice on Friday night within the same concert. I'm up for it.

It's also nice of the NBA to fit the Finals Game 5 in tonight, when there are no Cliburn performances. Not sure what I'll do about game 6, but I can always watch the stream on delay.

[slofstra]

Competition jurors surprise, and disappoint, me. Finalists:

Dmytro Choni, Ukraine, 28
Anna Geniushene, Russia, 31
Uladzislau Khandohi, Belarus, 20
Yunchan Lim, South Korea, 18
Ilya Shmukler, Russia, 27
Clayton Stephenson, United States, 23


I felt Sun,Kim,Kamie, possibly even Tadokorow, played better than Stephenson and Choni,especially Choni. Lim was a correct choice.

I did not , and wont , hear the 2 Russians nor the Belarusian , but they must have been VERY good to better my other top 4 above.

The concertos start Tuesday.

I understand why you would boycott the 2 Russians and the Belarusian, but aren't they in the USA on multi-year visa's? I have concerns about Gergiev, but for my own part, am going to give these three the benefit of the doubt on their sympathies for the tyrant Putin.
I noted in another post that you've been married 44 years I have a year on you in that category and 3 kids in their thirties (one son). They all keep Dad humble, that's for sure.
My wife isn't particularly a classical music fan, but she loves the piano, so watching a few of these together has been very enjoyable. And now with a grand daughter taking piano lessons, I'd like to get her in on the act also.

[Rach3]

I wondered how the 6 semi-finalists who played the Mozart Piano Concerto 20, k.466, did as a group. Only 2 of them went forward. Thus, of the 6 not going forward, 4 had picked the k.466 as their Mozart selection. Perhaps a bad choice as the popular pieces tend to create a higher level of expectation with the audience. With the judges? No idea, but I wonder.

Good point,I wondered as well. Finalists Lim played # 19,K.459, Geniushene #25,K.503, not "famous " ones ; the other 4 played " famous " ones, 2 K.466 ,1 K.467 , 1 K.271. The interesting Finals concerto will be Stephenson's Gershwin Concerto in F , after Shmukler's Rach 3, what a contrast.

[Danny]

Of the six finalists, only two - Lim and Khandohi - played Hough's piece from memory. I wonder whether they got additional marks because of this feat.

In any case, I am rooting for Lim.

[Rach3]

Interesting ( or not ? ), none of the Finalists chose to play the Cliburn-approved concerti by Bartok, Brahms or Liszt,nor the Schumann. Kamie was going to play the Saint-Saens 5th, another gutsy choice,but to my surprise he did not make the Finals.

[Rach3]

Of the six finalists, only two - Lim and Khandohi - played Hough's piece from memory. I wonder whether they got additional marks because of this feat.

In any case, I am rooting for Lim.

Some cynical competition - watchers would predict that since Geniushene plays last, she will probably win Gold.

[slofstra]

Geniushene is capable of getting the gold. She displayed massive command in the Prokofiev 8th, but her entire recital was highly musical as well. I think that for pure enjoyment, I have liked her performance the most.
Of course, I haven't yet seen some of the others.

[Rach3]

Geniushene is capable of getting the gold. She displayed massive command in the Prokofiev 8th, but her entire recital was highly musical as well.

Discovered Finalist Anna Geniushene is married to pianist Lukas Geniusas , so did hear her Semifinal recital. Indeed, some wonderful playing worth hearing. Beethoven Seven Bagatelles,Op.33; Verdi-Liszt “ Danza sacra e duet finale d’Aida” (my first hearing,gorgeous); Prokofieff Sonata No.8. She deserves to be in the Finals.


https://www.youtube.com/watch?v=gj-B053I3rU

[slofstra]

Geniushene is capable of getting the gold. She displayed massive command in the Prokofiev 8th, but her entire recital was highly musical as well.

Discovered Finalist Anna Geniushene is married to pianist Lukas Geniusas , so did hear her Semifinal recital. Indeed, some wonderful playing worth hearing. Beethoven Seven Bagatelles,Op.33; Verdi-Liszt “ Danza sacra e duet finale d’Aida” (my first hearing,gorgeous); Prokofieff Sonata No.8. She deserves to be in the Finals.


https://www.youtube.com/watch?v=gj-B053I3rU

Yes, that's the concert I watched. The sonata 8 toward the end had some sudden melodic shifts each of several bars that gave me goosebumps and the sonata finale as a whole was scintillating.
The range of material covered made this a superbly interesting program and really showed different facets of her ability. Will she win the gold? No idea ... there's much more that comes into a fan like me, enjoying a recital, versus evaluating her pure pianistic ability against other entrants. For me the composition being played is a major determinant. Scriabin sounds impressive, for example, but definitely not top of list as enjoyable music.
I also liked the preceding recital by Jinhyung Park which included the Schumann Fantasiestucke. But is Schumann's Fantasiestucke going to get you to the final? Perhaps not.

[Rach3]

Yes, that's the concert I watched. The sonata 8 toward the end had some sudden melodic shifts each of several bars that gave me goosebumps and the sonata finale as a whole was scintillating.

As you enjoyed the Prokofieff 8th Sonata, may I suggest also hearing his 9th ( seems hardly ever played from my very limited experience, vantage point ) , very underrated.

[slofstra]

Yes, that's the concert I watched. The sonata 8 toward the end had some sudden melodic shifts each of several bars that gave me goosebumps and the sonata finale as a whole was scintillating.

As you enjoyed the Prokofieff 8th Sonata, may I suggest also hearing his 9th ( seems hardly ever played from my very limited experience, vantage point ) , very underrated.

I will do that. I have only one rendition of it: Yefim Bronfman. Quite a few of No. 8; Richter seems to have been very fond of it.

Here is what's on tap tonight for anyone looking in:

Final Round Concert 1

7:30 p.m.Yunchan Lim, South Korea, 18 – BEETHOVEN Piano Concerto No. 3 in C Minor, op. 37
Ilya Shmukler, Russia, 27 – RACHMANINOV Piano Concerto No. 3 in D Minor, op. 30
20-minute intermission
Clayton Stephenson, United States, 23– GERSHWIN Piano Concerto in F Major

[Rach3]

I will do that. I have only one rendition of it: Yefim Bronfman. Quite a few of No. 8; Richter seems to have been very fond of it.

The late noted pianist Joseph Kalichstein had the 9th Sonata on his debut Vanguard cd I have, along with the Bartok Sonata and Bartok Allegro Barbaro ; quite the pairings for a debut cd. A couple commentators have opined the 9th should also be considered one of the composer's "War Sonatas." I've not heard Bronfman's.

[maestrob]

I will do that. I have only one rendition of it: Yefim Bronfman. Quite a few of No. 8; Richter seems to have been very fond of it.

The late noted pianist Joseph Kalichstein had the 9th Sonata on his debut Vanguard cd I have, along with the Bartok Sonata and Bartok Allegro Barbaro ; quite the pairings for a debut cd. A couple commentators have opined the 9th should also be considered one of the composer's "War Sonatas." I've not heard Bronfman's.

While we're slightly off-topic, I would recommend Kalichstein's IX (CD available at Amazon) as well as Anne-Marie McDermott's, McDermott available on Spotify. I'm curious about Feltsman, not having heard his rendition.

[Holden Fourth]

Glad you enjoyed Lim,Danny.

As a someone who really loves the TEs this performance by Lim just blew me away and I've got recordings by Ovchinnikov, Cziffra, Trifonov, Berman and Arrau. This was simply a phenomenal performance and notable not for the bravura (there was plenty of that) but he brought out the expressive side of these as well. In this he reminds me of Trifonov but I'm thinking that Lim does it it better. I'd go back and check but I just can't stop listening to this.

One of the benchmark Etudes for me is No 11 "Harmonies du Soir". It doesn't sound that hard but just try playing it! Little phrases that other pianists tend to gloss over sound significantly more important.

[slofstra]

I managed to catch every concert complete this past week. So good of the NBA to schedule the last two games of the finals on down nights for the Cliburn. And as everyone knows I"m sure, a great championship win for Golden State. So, combined with the piano competition, it's been a good week for viewing television.
At this point, Friday night, I've heard one concerto from three of the finalists, and two played by each of the other three.
Lim will get the gold, no doubt about it. Tonight's concert, with two Rachmaninoff 3rd concerto performances, showed how it's not just a matter of playing the notes, which Stephenson did quite competently, but more a matter of shaping the music. As commentator Elizabeth Roe put it, expressing the macrocosmic and the microcosmic elements.
I have enjoyed every performance by the finalists but Stephenson and Khandohi haven't been quite in the same league as the other four. I'm not sure if Choni is in line for a medal, as I only heard the Prokofiev Third. It was a good performance though, but it's all I have heard. And after Lim, who appears to be the next giant phenom, I really liked Anna Genuishene and Ilya Shmukler. The attraction with Shmukler is in his shaping of the music which is excellent. The only flaw to my ear was the middle movement of the Grieg Concerto; the main melodic line did not flow as I expected. The final movement was superb though. And his Rachmaninoff Third, played on a previous night, was very enjoyable. I have mentioned before that I liked Genuishene's sensibility. I don't know if you can win with Beethoven's First Piano Concerto, but it sounded magnificent. She has a staccato style that lends a sparkling quality to the playing; this was used to great effect in the concerto and in her previous recital. To my ears, she gets silver, but what do I know.
We have a social engagement tomorrow, meeting with my brothers and wives for the first time since early 2020. Hopefully I'll be able to stream the performance and awards on a delayed basis. All the concerts to this point are available to stream on a delayed basis so we should be good.

[maestrob]

Just heard Concert Round I today. Iwas pleased with Lim and Stephenson in teh Gershwin, but Marin Alsop's pacing of Rach III interfered with the quality of the performance in my view (not Lim's fault at all!). Both pianists played as if they were ready for prime time. In fact, there was one moment where Lim asserted himself in the final movement of the Rachmaninoff very adroitly and Alsop and the orchestra had no choice but to go along. Also, Alsop's direction was unclear in several complex passages that grew slightly blurry in the orchestra in both mvt. I & III. If I had my druthers, I'd not hire her again. She did better with the Gershwin, I thought.

[maestrob]

Geniushene is capable of getting the gold. She displayed massive command in the Prokofiev 8th, but her entire recital was highly musical as well.

Discovered Finalist Anna Geniushene is married to pianist Lukas Geniusas , so did hear her Semifinal recital. Indeed, some wonderful playing worth hearing. Beethoven Seven Bagatelles,Op.33; Verdi-Liszt “ Danza sacra e duet finale d’Aida” (my first hearing,gorgeous); Prokofieff Sonata No.8. She deserves to be in the Finals.


https://www.youtube.com/watch?v=gj-B053I3rU

Just heard her at the link you posted, Steve. Geniushene is a major talent and, given her performance here, should win the Gold. Her Beethoven had real depth and sensitivity, as did her Prokofiev, perhaps my new favorite version of that work (Sonata VIII). The Verdi/Liszt Aida was unusual (my first hearing), but she made a major work out of it as well. Definitely an artist to be reckoned with. Thanks for posting this. She's now on my list of pianists to follow.

I'm sure everyone else here has noticed that her last name contains the word "genius."

[slofstra]

Just heard Concert Round I today. Iwas pleased with Lim and Stephenson in teh Gershwin, but Marin Alsop's pacing of Rach III interfered with the quality of the performance in my view (not Lim's fault at all!). Both pianists played as if they were ready for prime time. In fact, there was one moment where Lim asserted himself in the final movement of the Rachmaninoff very adroitly and Alsop and the orchestra had no choice but to go along. Also, Alsop's direction was unclear in several complex passages that grew slightly blurry in the orchestra in both mvt. I & III. If I had my druthers, I'd not hire her again. She did better with the Gershwin, I thought.

I do remember in the NPR documentary, James Conlon cautioning co-medalist Stanislav Ioudenitch to not over run the orchestra.
So perhaps the fault was not Alsop's but just limitations of the players.

[Danny]

https://cliburn.org/2022-cliburn-competition/schedule/

Lim - gold
Geniushene - silver
Choni - bronze

I had been rooting for Lin, so I am pleased with the result.

[slofstra]

https://cliburn.org/2022-cliburn-competition/schedule/

Lim - gold
Geniushene - silver
Choni - bronze

I had been rooting for Lin, so I am pleased with the result.

We were able to watch the last performance and awards on a delayed basis. And the result was accurate to our perception of the performances. Choni was superb today in Beethoven's 3rd piano concerto, although he did really draw out the slow movement. Shmukler didn't walk away empty handed as he won a special award for best Mozart concerto. Lim and Geniushene clearly stood out from the rest, with the gold going to Lim, both as predicted.
All in all a great week of piano virtuosity, aural pleasure and deep emotions expressed in music.

[maestrob]

Just heard Concert Round I today. Iwas pleased with Lim and Stephenson in teh Gershwin, but Marin Alsop's pacing of Rach III interfered with the quality of the performance in my view (not Lim's fault at all!). Both pianists played as if they were ready for prime time. In fact, there was one moment where Lim asserted himself in the final movement of the Rachmaninoff very adroitly and Alsop and the orchestra had no choice but to go along. Also, Alsop's direction was unclear in several complex passages that grew slightly blurry in the orchestra in both mvt. I & III. If I had my druthers, I'd not hire her again. She did better with the Gershwin, I thought.

I do remember in the NPR documentary, James Conlon cautioning co-medalist Stanislav Ioudenitch to not over run the orchestra.
So perhaps the fault was not Alsop's but just limitations of the players.

Yes, I do remember that moment very clearly, Henry. I will also note that Conlon had zero problems managing the orchestra, as he studied at Juilliard with Jean Morel who taught him the very same podium technique that I learned there under Vincent La Selva, who was also a Morel pupil.

When things go wrong, it's always the conductor's fault, I'm afraid, except for what are called "clams," when a player blatts out a wrong note, usually in the brass. Ensemble problems invariably have to do with unclear direction from the podium.

[maestrob]

https://cliburn.org/2022-cliburn-competition/schedule/

Lim - gold
Geniushene - silver
Choni - bronze

I had been rooting for Lin, so I am pleased with the result.

We were able to watch the last performance and awards on a delayed basis. And the result was accurate to our perception of the performances. Choni was superb today in Beethoven's 3rd piano concerto, although he did really draw out the slow movement. Shmukler didn't walk away empty handed as he won a special award for best Mozart concerto. Lim and Geniushene clearly stood out from the rest, with the gold going to Lim, both as predicted.
All in all a great week of piano virtuosity, aural pleasure and deep emotions expressed in music.

Couldn't agree more. This has been a wonderfully fulfilling experience, following this competition. Many thanks to Steve for keeping us posted.

[slofstra]

Just heard Concert Round I today. Iwas pleased with Lim and Stephenson in teh Gershwin, but Marin Alsop's pacing of Rach III interfered with the quality of the performance in my view (not Lim's fault at all!). Both pianists played as if they were ready for prime time. In fact, there was one moment where Lim asserted himself in the final movement of the Rachmaninoff very adroitly and Alsop and the orchestra had no choice but to go along. Also, Alsop's direction was unclear in several complex passages that grew slightly blurry in the orchestra in both mvt. I & III. If I had my druthers, I'd not hire her again. She did better with the Gershwin, I thought.

I do remember in the NPR documentary, James Conlon cautioning co-medalist Stanislav Ioudenitch to not over run the orchestra.
So perhaps the fault was not Alsop's but just limitations of the players.

Yes, I do remember that moment very clearly, Henry. I will also note that Conlon had zero problems managing the orchestra, as he studied at Juilliard with Jean Morel who taught him the very same podium technique that I learned there under Vincent La Selva, who was also a Morel pupil.

When things go wrong, it's always the conductor's fault, I'm afraid, except for what are called "clams," when a player blatts out a wrong note, usually in the brass. Ensemble problems invariably have to do with unclear direction from the podium.

I don't disagree, as I have no basis to evaluate. My comment pertained very narrowly to the tempo of the performer. I do still wonder, if the pianist does over-run the orchestra, how the conductor could prevent or control the situation. Perhaps a firm baton rap on the head, or tackling and wrestling the soloist to the ground might do it, while also lending additional excitement to the proceedings.