Evening 5 – May 31, 2024
Klassiek Centraal brings you a report of both finalists defending their final spot on each final evening. In order not to be influenced, nor swayed or affected by third-party commentary, we do not attend commentary discussions before or after, nor do we 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 written especially for the final of this violin session by Thierry Escaich (world premiere on Monday, May 27, 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, June 1 around midnight.
Kevin Zhu (United States of America, °2000)
Programme
- Thierry Escaich: Variations Litaniques
- Dmitry Shostakovich: Concerto No. 1 in a op. 77
This violinist takes the stage with absolute confidence and performs with the same assurance. He clearly wants to go down in the history of the KEW. It remains to be seen whether that will be the case… In the imposed work, he is not cautious, but rather virtuosic, strong, demanding. You hear it in his music, you see it in his facial expressions. Ambition through and through. The tendency to begin a plea is not present with this energetic litany. Zhu gives his best as a master of technique, of virtuosity, but understanding for the content is rather left aside…
Well, Shostakovich's 'diabolical' concerto, the concerto where he – as can be presumed – subtly critiques the communist dictatorship under which he lived, the fear that comes with it, but also cautious hope in the sense of 'this cannot continue, it will eventually be fine'. Perhaps Oistrach meant by the 'diabolical' also the situation in the country at that time? Should there not be more (restrained) nervousness and stress resounding, with the glissandos fashionable in their time (Kevin Zhu does not play them) and violent vibrato (which does not really come into play either)? It becomes a performance according to a contemporary interpretation that nonetheless lacks some insight into the time when the concerto saw the light of day. Once again it becomes clear that brilliant works are not always understood and are reduced to a piece of music that is known and that you must play in a competition, on the stage, must record because 'it is that piece'.
Minami Yoshida (Japan, °1998)
Programme
- Thierry Escaich: Variations Litaniques
- Edward Elgar: Concerto in b op. 61
She looks with a serious gaze, but plays very subtly at the opening of the required work, specially composed for this competition by Thierry Escaich. Much nuance, accentuations, The dialogue with the first violin (solo by the concertmaster) is warm and deep until it rises to the heights. A litany may not be immediately recognizable in this interpretation, but it is certainly a beautifully musically charged performance. Her dialogue with the conductor and thus with the orchestra is there, even with a wink despite the beads of sweat. She commands silence and the musicians follow her attentively along the finely spun thread that proves its strength in the final chord.
Warmth, that is actually how you can describe this entire concerto as Minami Yoshida plays it. Much feeling resounds in her playing. Even though she looks tense (who wouldn't in such a competition?), you don't hear it. A bit luscious is how she serves up this concerto with plenty of cream, or is it 'plum pudding'. The somewhat more virtuosic features that Elgar has incorporated there, noblesse oblige, she performs with a seriousness that is unmistakable. The ear almost in the violin, now and then the eyes open towards the conductor, full bows… She is in her element and she lets you enjoy herself. She is one of the few who does not play a competition, but a concert. Isn't that what it's all about? Music above all, the competition is ultimately 'only' a snapshot in what is hopefully a long career as a musician. And that? That is the straight path this Japanese musician is walking.