Six candidates have now made their case, each potentially dreaming of that first prize, dreaming of four years playing the Pablo Casals cello, and dreaming of a long and successful career where, through the cello, they can serve the Fine Arts. We wish all the laureates well – because you're a laureate once you're among 'the' twelve. That doesn't mean those who missed out in the selections and those who won't even consider competitions and don't enter at all can't build world-class careers. This is a stepping stone in a life story that can be defining, but to be honest, it's not always the case. Dilshod Narzillaev Fang Man – Four Odes to the Tidings of Flowers

Narzillaev begins with the somewhat mysterious, very slow, misty, exploratory section of this four-part composition. After the first tentative notes exploring the universe, you hear a deep, warm cello in the first solo line. By choosing this intro, he immediately makes the work more enjoyable. The next section is powerful, turbulent, with an unexpected high tempo and yes, his cello is somewhat overpowered too. That was also the composer's intention. Why? Well… Part three is an aggressive section with many short and forceful bow strokes. Dilshod Narzillaev handles the bow perfectly and minimizes the not-so-pleasant squeaking as much as possible. The chaotic third section doesn't become particularly 'beautiful,' but you do get that less grating cello sound. The final section somewhat echoes how the work began today—a light and pure sound. Still, it's a challenge to keep it engaging throughout. Perhaps we should ask the composer why that is?

Dmitri Shostakovich (1906-1975) – Concerto No. 1 in E-flat Op. 107

The cellist launches into the equally resolute work decisively. Strongly convincing, without aggression, but with a defiant character saying: "Okay, I'll do what I can't avoid, but this won't last long." And so in the second movement it becomes clear, or at least seems to convey, that calm has returned to the land, that one can dream, long for—long for what? We hear very warm, lyrical, wonderfully sustained cello, richly phrased. And so it flows naturally into a sense of triumph, a 'here-I-am' presentation, freedom…

Álvaro Lozano Cames

That's an entrance! That's sound creation. And this from one of the youngest candidates, tackling such a difficult piece with such insight and moreover sustaining it. Talent is the Master here. Yes, Álvaro Lozano Cames delves deeply into every note, every phrase, every musical element and binds them together with vision. Thanks to his technical skill, it all comes into its own. Despite the attention he rightfully deserves, several people in the audience still can't resist coughing and sniffling annoyingly between movements. A fine per cough fit and the KEW would have a budget surplus. Aside from the traditional coughing disruptions at Bozar, the young man simply presses on with mature insights, beautiful tones, and full lines. A musician who adds value to a composition—that is this candidate.

Dmitri Shostakovich – Concerto No. 1 in E-flat Op. 107

Dmitri Shostakovich (1906-1975) – Concerto No. 1 in E-flat Op. 107

If youthful vision isn't ringing out here, what is it then? It's more, much more. Yes, youthful and hopeful too, longing for further growth, but also for the fulfillment of young love and all that comes with it. Cames bounds over the obstacles with the agility of an athlete. His instrument sings, the vibrato even consciously emphasized here, part of the articulation. The drawn-out slow section sounds beautiful. The delicate fragility is so pure and breakable. With steady energy he swings through the third section which culminates in the fourth as a grandiose apotheosis. Personally, I enjoy this musician more than the world-renowned Mstislav Rostropovich (1927-2007) for whom it was composed in 1959 when the cellist was just a good two years older than Cames (not quite 20).

Dilshod Narzillaev, Álvaro Lozano Cames, Belgian National Orchestra, dir. Antony Hermus

May 28, 2026