Evening 4 – 30 May 2024
Klassiek Centraal brings you a report of both candidates defending their place in the final for each final evening. In order not to let ourselves be influenced, nor swept away or in any way by third-party commentary, we do not follow commentary discussions before or after, we do not read commentaries. In this way we hope to give an objective opinion. May the best win.
Each finalist will perform the mandatory work, Variations Litaniques, which was specially written for the final of this violin competition 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 announcement of the ranking of the laureates will take place after the last performance, on Saturday 1 June around midnight.
SongHa Choi (Korea, °2000)
Programme
- Thierry Escaich: Variations Litaniques
- Dmitry Shostakovich: Concerto no. 1 in a op. 77
The interpretation cannot be more contemporary in the sense of atonal music, aggression in the music and pop. Is this really what the composer intended? On the other hand, SongHa Choi does place a very personal emphasis on this work. Rather attacking and she pulls the orchestra along with her. It is the 'firmest' performance so far in terms of decibels and tempo. But does this fit the true meaning of 'litany'? How will the jury respond to this? Likely very divided, but we will never know. You cannot call this musical interpretation, rather fashionable. Technically everything is absolutely there.
Questions. Many questions can be raised about this Shostakovich. Captivating? No, it is not. Certainly not in the searching first part, which is so fragile, thin, paper-thin. Well, she does draw that from her instrument, but why does it not engage immediately? Emotion and emotion again, the soul, that is so important here, more important than technical perfection. There is not really a deep feeling in it, the emotion is absent. It has something of a robot. Actually, you should get goose bumps several times from this work, which is not so simple in content. The performance should radiate something philosophical, also fear, rage and yes something of the devil while heaven is also part of it. Duality, yes, that is it and that does not come to the surface. What an incredibly difficult work to understand.
Julian Rhee (United States of America, °2000)
Programme
- Thierry Escaich: Variations Litaniques
- Pyotr Tchaikovsky: Concerto in D op. 35
Searching, wandering lost, carefully Rhee asks for help here. That is his approach and it is absolutely allowed. The environment, in this case the orchestra, makes the questioner, in this case the soloist, somewhat anxious, uncertain, but still persevering. It is a matter of having to, swim or… As far as technicality is concerned, Julian Rhee is as strong as all the others. He does not rush through this work. Cold shivers from this performance? No, it does not get played that close to the edge. This is, however, one of the more musical and engaging performances.
Oh, such a beautiful start, Tchaikovsky would be so moved. The competition stops here, it becomes a concert. This becomes a performance to remember. Great music is being made, pure, very sensitive. Technique in service of the Muse, like the vibrato of this musician that is somewhat brighter than many others, but is so measured that it is enriching. So too his virtuosity serves the compelling story of the Russian who had such difficulty with himself and expresses that in many of his works. This masterpiece receives a masterful performance here. Who is not captivated by it? And yes, the applause speaks volumes once again…
