Discussing the Cliburn with Brad Hill - part 2

 

Evgeni Bozhanov, Bulgaria (official competition photo, c 2009 Astre Media)

Beth: So let's talk about the performances a little. What are the judges looking for in the early rounds? Do you think some very good players failed to make it into the semis and finals this time?

Brad: There is always lots of speculation, in piano competitions, about what the judges are looking for. At the Cliburn, the official line is that they are searching for mature performers who can step into a concertizing career immediately. It might be ironic, then, that the two winners this year were the two youngest competitors.

There were two players from the preliminary round that I wanted to hear again: Spencer Myer and Zhang Zuo. Going into the event, I was familiar with only one pianist, Stephen Beus, who has done some recording. I was rooting for him based only on familiarity, but he banged a bit in his preliminary recital and was eliminated. and we should always remember that everyone who gets to the competition is spectacularly accomplished -- the Cliburn Foundation has already winnowed down from hundreds of auditions around the world. And each of those applicants is excellent, too! There is a lot of talent out there.

We must talk about the final decisions. What did you think of the medalist choices? In 2005 I predicted the placement of the six finalists perfectly. This year I couldn't have been more wrong! My two favorites placed fifth and sixth. I think the silver medalist is unequipped for a major career. Then there is Nobuyuki Tsujii, the blind pianist who shared the gold medal and will probably get most of the headlines. What an amazing and inspiring display of human achievement. But (here it comes!) as a pianist, I honestly don't believe he should have won, or even been in the finals. He played very difficult programs almost flawlessly, but also, to my ear, without much dynamic range or special musical insight. It seems churlish to complain at all about that amazing young man (he is only 20!). But on the blog there was a wide range of opinion about him. Some people thought he was a gift from heaven, and others thought he should have been excused after the first round.

 

Yeol Eum Son, 23 (Korea) - Silver Medal; Nobuyuki Tsujii, 20 (Japan) - Gold Medal (tie); Haochen Zhang, 19 (China) - Gold Medal (tie) (official competition photo, c 2009 Astre Media)

Beth: I would have picked Vacatello for the gold, Bozhanov for the silver (I think those were your picks too, but in the other order) and Di Wu for third place. I wasn't impressed with the silver medalist at all and don't understand why some people felt she was the standout competitor, so that was one major disagreement. I do recognize what is extraordinary about both of the gold medalists - the enormous human achievement of Nobuyuki Tsujii, and the prodigy-like virtuosity of Zhang - but neither one moved me in their performances.

(As an aside - I was talking about the blind competitor with a composer-friend and said I felt guilty for not liking his playing more, because it seemed so astonishing to me that he could play so perfectly and learn all this music from memory. My friend said, "It's actually not that incredible. There's Braille music, and if he's been at it all his life, he probably has no more trouble learning that way than a skilled, sighted pianist learning from a printed score." I didn't even know Braille music existed, and probably many other listeners didn't either.)

What I was looking for, I guess, is that elusive quality we call "musicality." Vacatello has it in spades; no matter what period of music she was playing, she inhabited it and gave it to us; I would happily go and hear her perform anywhere. Bozharov was the risk-taker and the most original of the finalists, and I admire that and wish it were more often rewarded in competitions. Di Wu played extremely well,  I think, and I felt there is evidence of a real musical intelligence at work; she's just young still. After four more years of maturing I bet she will be fantastic.

Brad: Yes, you and I are on the same page. In addition to Vacatello's ferocious technical command and unstoppable musicality (her Italian Concerto of Bach was to die for!), I like her intense concentration at the piano. Bozhanov was the most polarizing figure in this event. Wasn't it fun watching people argue about him on the blog? He stood out because of his individuality, which is rare in classical music. Casual concert-goers might not realize it, but their favorite pianist probably sounds very much like all the other touring stars. The modern recording era has established standard playing styles for different composers, and to win a big contest you can't play outside that mold. Bozhanov broke the mold! I thought he was sensational, and I'd rather listen to an unsuccessful performance that flies too close to the sun, than a safe performance that stays in the shadows. Bozhanov burned himself in the Cliburn, but many people will remember him and follow his career.

Mariangela Vacatello, Italy (official competition photo, c 2009 Astre Media)

Beth: I'm glad you mentioned Vacatello's Italian Concerto - it was stunning. What I felt in her playing, and in Bozhanov's, was their own depth as musicians and, frankly, as people. I simply don't think this is possible until one has grown up a bit and lived for a while as an adult. The video "performer portraits" included in the competition coverage were very good, I thought, and also revealing. When young Zhang, for instance, said "I feel safest at the piano, I was a very quiet child,  I still don't like to talk much," and then we see him at the awards ceremony, in a tuxedo with his white ear buds on, completely in his own world, that says something. Meanwhile Vacatello and Bozhanov were laughing, talking, interacting with friends and colleagues. I'm not saying that a quiet introverted person can't be a great musician -- of course they can, there are many examples, and it goes without saying that one has to enter deeply into one's self to be great. But I didn't find the same depth or maturity in Zhang's playing, or Nobu's, as in these two older competitors, and I also worry about how the two gold medalists will hold up under a grueling three-year concert and travel schedule. I wish them the absolute best, of course!

--the conversation continues tomorrow, about how coverage like this might help classical music in the future.

Comments

[Bill]

Great conversation!

[prasanth]

Actually Tsujii has said he doesn't learn through Braille scores due to their cumbersome nature.

[beth]

Ah, that's interesting! Did he say how he learns, then? It's hard to imagine that it's entirely by ear, but perhaps so...

Thanks for commenting.