Evening 1 – 27 May 2024
Klassiek Centraal brings you a report of both candidates defending their finalist position on each final evening. In order not to be influenced, nor swept along or influenced by third-party commentary, we do not attend commentary discussions before or after, we do not read commentary. This way we hope to provide an objective opinion. May the best win.
Each finalist will perform the mandatory work, Variations Litaniques, written especially for the final of this violin session 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 proclamation of the ranking of the laureates will take place after the last performance, on Saturday 1 June around midnight.
Due to the presence of the royal couple, the evening opens with the Belgian National Anthem. To be honest? I don't find it beautiful, it's such a typical 19th century woolly, bombastic piece of music, but it's 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, in world premiere by Hana Chang, begins somewhat tentatively with ticking percussion and a dreamy violin that produces beautiful sounds. It is very thin and Chang makes something lyrical of it. Admittedly it lacks (physical) power, but is that necessary for a litany and variations on it? The work has something deeper to it and thus 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 warmly, softly, full of tenderness Chang rightly begins the famous Tchaikovsky Concerto. Whoever makes music like this, as first in the row of 'the twelve' no less, already deserves the finalist position for which she was selected. She performs it rather timidly, on the verge of being too delicate. That is the red thread through her playing. There could certainly be more assertiveness shown. Where the playing requires more speed and commitment, she dares to flirt with tonal precision. 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 happy with her performance.
Dayoon You (Korea, °2001)
Programme
- Thierry Escaich: Variations Litaniques
- Edward Elgar: Concerto in b op. 61
In contrast to the previous candidate, Dayoon You plays with more power and firmness. He goes for an interpretation that emphasizes technique and virtuosity. Here the praying character is absent. You may be a technician and virtuoso, but don't forget the musicality. It is even difficult to remain attentive enough to listen. You Dayoon does not immediately enchant in this, has he understood the meaning of the work?
You can call it a good idea to play the rarely performed Elgar concerto, and even as a competition piece. Again the question arises: has this young violinist really understood the work? He plays fast, pure, technically very strong, no scratchy 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 sustaining tones, but he does not really captivate. This late-romantic work lends itself to luscious playing and singing.
