Grand Finals

This edition’s finals feature 6 pianists in 6 different piano concertos, a far cry from the 1990 finals, which had 4 pianists playing the Schumann Piano Concerto. This ought to provide a contrast of styles in a diversity of music, all in all a more interesting experience from the audience’s point of view.

However there is a catch. Unlike a number of competitions of this size where finalists have to play two concertos (usually one Mozart or classical concerto, and one Romantic or 20th century concerto), “the Leeds” requires the performance of one concerto alone. How does a performance of Mozart compare alongside a reading of Prokofiev or Rachmaninov? And what if one pianist’s concerto is three times the length of another pianist’s?

All these chickens came to roost at this year’s finals with the superb Hallé Orchestra conducted by Mark Elder. As far as programming is concerned, both evenings (with three pianists each) had to open with the gentler Mozart concertos, and had to close with the bravura Romantic concertos. Caught in between were the more modern Prokofiev concertos. Can anyone think of a better way? Obviously this would prove disadvantageous to the Mozartians, and a boon to those with Rachmaninov to grind out.

Day 1 (22 September)

Leeds Town Hall (above) is a magnificent Victorian neoclassical structure with all the pomp (and pomposity) and grandeur (and grandiosity) of that period. Its high dome is visible for miles; Corinthian columns command awe as do the pair of lions that guard its frontage. The interior looks like a wedding cake turned outside in, with its massive light-coloured organ pipes screaming for attention. Emblazoned on the walls are supposed words of wisdom (the sort one finds in fortune cookies) including “Progress”, “Justice for all”, “Honesty is the best policy” and… the totally Rafflesian “Auspicium melioris aevi”. Also flown are flags representing the nations of the participants in the competition. Thankfully, Kim Jong Il’s North Korea was nowhere to be found, replaced by the familiar Yin and Yang of South Korea.

Now to the performances:

Grace Fong (USA)

Is it a curse to be the first to perform in a concerto final? When was the last time a pianist performing first actually won a competition? Nevertheless, the graceful Grace Fong looked and sounded resplendent in Mozart’s Piano Concerto No.21 in C major K.467.

Conductor Mark Elder had moved the woodwinds of the Hallé Orchestra to the front of the stage, sitting where the second violins (or cellos) normally would. That was supposed to enhance the aria-like qualities of woodwind solos in this intimate piece. I am not sure whether it made much of a difference in K.467, although it might definitely work in the slow movements of K.453 or K.482.

At any rate, Fong’s velvet touch lent sensitivity and elegance, without imposing herself on the orchestra. The Elvira Madigan slow movement was, in particular, meltingly beautiful. This is ultimately chamber music which charms and delights at every turn. Her cadenzas were tastefully delivered and every phrase crisply articulated, but is a lovely, idiomatic reading of Mozart’s most familiar concerto good enough to win the competition?   

Song Siheng (China)

An unusual pick for a final, Prokofiev’s Piano Concerto No.1 in D flat major Op.10 lasts all but 15 minutes. Mark Elder’s very lucid and concise commentary before each performance had prepared the audience for this “extraordinary powerful fireworks display”. In days of old, pianists opting for a short concerto would have picked the Liszt No.1 (which is just under 18 minutes). Song’s choice, however unconventional, was a good one, and he did not disappoint.

After the initial octave display, his opening solo flew off the blocks much like an Ashkenazy or Gavrilov. His
incisive and relentless assault on the keyboard was tempered with humourous touches, which suggested he was not a mere automaton. The slow central section could have done with more sensuousness and a dreamier touch but he worked the climax quite perfectly. There was no hint of strain in the final sprint and he closed impressively. Perhaps I had under-estimated this Chinese pianist as an artist and performer.

Kim Sungwook (Korea)

Brahms’ Piano Concerto No.1 in D minor Op.15 is three times the length of the Prokofiev, but did the young Kim have three times the stamina? Yes he did, and with lots to spare. The orchestra stormed the heavens in the mighty tutti, and Kim’s entry was nicely shaped, with none of the faux profound posturings that mar performances by bigger names. He had a small slip in the solo of the second subject but his octaves were taken immaculately.  More than equal to the work’s technical challenges and emotional demands, his reading began to sound more and more like an interpretation.

The slow movement was well paced and its conception as Brahms’ memorial to Schumann was not lost to him as he played this element to the hilt. His stainless steel-clad technique also held firm in the final Rondo, which romped its way to a heady close. While one could have hoped for a little more oomph in the outer movements but I felt he had done more than enough for his youthful age.

Footnote: There was a commotion in the audience during the final movement of the Brahms as someone keeled over in a faint, knocking over bottles and other noisemakers, but that did not faze young Kim. Earlier in the second round, the ceiling of the Great Hall had sprung a leak during a rainstorm and started dripping noisily, also
during Kim’s performance. Someone suggested he should get a prize for playing through despite all that!



Tourist Tip of the Day:

Leeds United Football Club holds stadium tours twice a week, at 3 pm on Fridays and Sundays (except matchdays). Admission fee: GBP 10, to be purchased at the West Stand Box Office. Tours are conducted by former Leeds and Northern Ireland international John McClelland, who besides providing an overview of the once-feared club, also gives personal and unique insights from an insider and player’s viewpoint. Much better than the Manchester United FC stadium tour, according to a gentleman who visited both clubs. Bus services to Elland Road: 51, 51A and 55 from Vicar Street (outside Kirkgate Market).

by Chang Tou Liang







(right: Elland Road is the home to Leeds United Football Club)

 

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