Evening 1 – 27 May 2024
Classical Central brings you a report of both candidates defending their place in the finals on each final evening. To avoid being influenced, swept along or affected in any way by commentary from third parties, we do not attend commentary discussions before or after, we do not read commentaries. In this way we hope to provide an objective opinion. May the best win.
Each finalist will perform the mandatory work, Variations Litaniques, which was specially written for the finale of this violin competition by Thierry Escaich (world premiere on Monday 27 May 2024), and a concerto of their choice, with the Belgian National Orchestra, conducted by Antony Hermus. The announcement of the ranking of the laureates will take place after the last performance, on Saturday 1 June around midnight.
With the presence of the royal couple, the evening opens with the Belgian National Anthem. To be honest? I don't think it's beautiful, it's such a typically 19th century rather woolly, bombastic piece of music, but it is rarely played so beautifully. The conductor made it his work.
Hana Chang (United States of America, °2002)
Programme
- Thierry Escaich: Variations Litaniques
- Pyotr Tchaikovsky: Concerto in D op. 35
The mandatory work, performed in world premiere by Hana Chang, begins somewhat tentatively with tapping percussion and a dreamy violin that does produce beautiful sounds. It is very thin and Chang makes something singing of it nonetheless. There is a lack of (physical) strength, but is that necessary for a litany and variations on it? The work has something that goes deeper and so it could even become a repertoire piece. That is not much given with competition commissions. Thierry Escaich, the composer, has written more than a technically exhausted competition piece.
So warm, soft, full of tenderness Chang rightly begins the famous Concerto by Tchaikovsky. Whoever makes music like this, as first in the line of 'the twelve' no less, at least deserves the place in the finals for which she was selected. She performs rather dutifully, on the edge of too refined. That is the red thread through her playing. Surely more determination could be shown. Where the playing requires more speed and commitment, she dares to flirt with the correctness of tone. This does raise doubts about her career as a future soloist on the great stages. Her facial expressions at the end spoke volumes, she was not really pleased with her performance.
Dayoon You (Korea, °2001)
Programme
- Thierry Escaich: Variations Litaniques
- Edward Elgar: Concerto in b op. 61
Dayoon You plays with more strength and firmness in contrast to the previous candidate. He goes for an interpretation that emphasizes technique and virtuosity. Here the praying character is missing. You may be a technician and virtuoso, but do not forget musicality. It is even a matter of paying close attention to keep listening. You Dayoon does not immediately charm in this, has he understood the meaning of the work?
A good idea you can call it, to play the rarely performed concerto by Elgar and even as a competition piece. Again the question arises: has this young violinist truly understood the work? He plays fast, pure, technically very strong, no creaking bow entries until it becomes more virtuosic because then he almost cuts through the strings. Furthermore we hear no annoying vibrato, but there is too little singing. Now and then he gives warm carrying tones, but he does not really captivate. This late-romantic work lends itself to mellow playing and singing.