As every year, Klassiek Centraal strikes while the iron is hot, and as soon as the applause still echoes through the Henry Le Boeuf Hall at Bozar (Brussels), we share our impressions of each laureate from that evening. Please note that your humble servant deliberately avoided listening to any preliminary rounds, nor to radio and TV commentary, nor reading anything in the print press. This is to listen to and discuss the twelve finalists with an open mind and without prejudice or influence.
Fang Man's Assigned Work – In the following days, there was little fresh air, but the finalists refreshed the atmosphere with new ideas about Fang Man's composition and the theme of the four seasons corresponding to four types of flowers. One conjured an almost romantic phrasing style, while another played the strings fiercely to emphasize the drama. Some played glissandos with the dryness of a fallen leaf, while others rounded out the tones. Because each competitor could choose the order of the sections in the mandatory piece, we heard some performances begin with the sharp solo passage of the winter section, while others ended with the dramatic gong stroke; some started with the meditative harmonies of the spring section, and some chose to end with the final, sustained autumn chord.
A very subtle entrance, a cautiously avant-garde opening piece is the first impression of this assigned work, specially composed for the competition. Oriental atmospheres are evoked, notably emphasized by a soft gong. After the elaborate introduction, a full orchestra sounds in rich colors and the cello is given plenty of opportunities on a technical and musical level. Strong performers will score here. As with every assigned work throughout history, much emphasis has been placed on the technical aspect. It's somewhat to the detriment of musicality, but that still gets enough chances. The dark moaning solo features less elegant groaning bow entries and glissandos that are deliberately highlighted. The orchestra enters slowly, takes over the discourse in pianissimo, then swells strongly before suddenly softening again. So it goes up and down, with a set of requirements that remain too technical for the cello. Tutti passages alternate with sudden pianissimos, vigorous phrases for the cello that only allow singing for those who notice it. This piece has more to offer than appears at first listening. The cello may sing, but very delicately, very softly, in the slow, peaceful section that trails off to the final notes. This is indeed a composition in which you can recognize the greatest talents.
Fang Man (b.1977) – Four Odes to the Tidings of Flowers
Here and there the cellist places musical accents in a work that apparently gives them too little room. Technically Zaitseva is completely on point. The cello soon gets a solo part where Maria Zaitseva convincingly engages. The orchestra somewhat suppresses the cellist in the tutti passages and fierce fortissimos. At times a more song-like phrase shows some sensitivity. Zaitseva doesn't bring out the aesthetic element in this work. The orchestra drowns out the cello too much in a fairly lengthy composition. We are not entirely satisfied with this performance.
Henri Dutilleux (1916-2013) – A Whole Distant World
Maria Zaitseva begins this rarely performed work with great warmth. For many, it's a discovery. The longer solo entrance, with limited orchestral accompaniment, is not always perfectly in tune. That's a pity. The cellist doesn't move me. Despite her skill and commitment, technique and mastery of the instrument and absolute knowledge of the scores, it seems "that something" is missing. The musical depth is there and it isn't. There are so many opportunities in this work to prove yourself as a great musician, but they come up too short.
Fang Man (b.1977) – Four Odes to the Tidings of Flowers
Lionel Martin enters with firm conviction and immediately carries the listener along. He accents strongly and we hear an entirely different work. The muse speaks. Self-control, technical perfection, perfectly in tune throughout, breathing with phrasing. His vision of this assigned work is challenging. The quality of the entire performance is such that you don't need more words to describe it: re-listening is the best tip and that can be done via the Queen Elisabeth Competition website.
Antonín Dvořák (1841-1904) – Concerto No. 2 in B minor Op. 104 B 191
A dream, not only because of the romantic character of this rich concerto, but in everything this cellist draws from the instrument emerges a born musician who stands above many others. The orchestra, which unfortunately started somewhat weakly, lets itself be carried away and plays with a remarkably richer palette of colors. The power of true soloists always has such an effect on orchestras. Martin, without fuss, takes the lead and completely determines the musical lines, the tempo, the breathing, the phrasing. His bow, very precisely controlled with broad strokes, lets the soul of not only Martin himself, but especially that of Dvořák be heard from the cello. You become quiet from his emotions that he radiates in his entire being. Sometimes when listening to such an inspired musician, you might want to—or should you?—reach for a tissue... This is a concert and no longer a competition...
