쇼팽콩쿨 흥미로운 리뷰들 중 하나

[산뜻한]

콩쿨은 연주자에게뿐 아니라 감상자에게도 무척 공부가 되는데요 

정말 공부가 되는 리뷰 블로그가 있어 소개합니다. 

이 글을 쓰신분은 나이가 드신 할아버지시구요  오랫동안 클래식음악 팬으로 연주자로 마치 옛날 유럽귀족처럼 여유있는 삶을 여러 연주회장에서 보내면서 감상하고 리뷰를 남기시는 분이네요 . 시적이고 낭만적인 표현을 좋아하는 취향이시구요..

무려 이분이 예상한 사람중에 8명이 파이널리스트로 올라갔어요 

제 개인적으로 이번 쇼팽콩쿨에서 조성진군과 2등한 아믈랭이 정말 실력이 남달랐다고 느껴져서 

리뷰를 모아봤어요. 다른 연주자들 리뷰나 이분의 다른 글이 궁금하신 분은 이 페이지로 가보세요 

http://www.michael-moran.com/2015/10/17th-international-fryderyk-chopin.html

2라운드 끝나고

Seong-Jin Cho (South Korea) 

Perfectly encapsulates the modern 'power' concept of pianism and Chopin interpretation in 2015 rather than 1815. Could win the competition if the audience have anything to do with it and the jury feel likewise concerning a declamatory Chopin. He brings a monumental virtuosity to bear on this most intimate of composers. I have heard him twice at Duszniki Zdroj (2010 and 2012) and was highly enthusiastic about his performances - but there he played Liszt, Schumann and Ravel and only one work of Chopin. I have reservations about his Chopin despite his genius in other respects as a virtuoso of the top flight. I will write more on this after hearing Stage III.

대단하게도 이분은 2라운드에서 이미 조성진군이 쇼팽콩쿨에서 우승할 수 있다는 것을 예감하고 있네요 

2015년 쇼팽 해석 받아들여진다면..이라는 조건을 달고 계시네요 . 정말 귀가 정확하신듯..

Charles Richard-Hamelin (Canada)

Clearly a mature artist with a great deal of experience. Tremendously developed authoritative playing, stylish and impressive. Possibly one of the best thought through and performed E-major Rondos I have ever heard - full of styl brillant life, exuberance and contrasted moods, superbly phrased. Playing decidedly for himself. One of the best F-sharp minor Polonaises I have heard in the competition. The Polonaise-Fantaisie was a penetrating interpretation of this difficult and fiendishly complex late work.

3라운드 끝나고 

Seong-Jin Cho (South Korea)

At the risk of 'overkill' with this pianist I would like to quote an edited version of what I wrote about his performances at Duszniki Zdroj in 2010 and 2012:

아래글은 이분이 2012년 쇼팽축제에 참여해 연주한 조성진군 연주를 듣고 작성하신글 ..

오, 젊음--그 영광이여 !

"Ah, Youth - the glory of it!" so wrote Joseph Conrad.

Piotr Paleczny, the Artistic Director of this festival and a member of the 2015 jury, is to be congratulated on his unfailing ability to give us outstanding pianistic experiences, particularly with prodigious young talents. 

그리고 보니 이번 쇼팽콩쿨 심사위원이었던  Piotr Paleczny 가 조성진군을 쇼팽축제에 초대했네요. 이분은 루빈스타인 콩쿨에서도 심사위원이었었죠. 

Every once in a while a Wunderkind actually lives up to the hype in performance. This is certainly the case with the South Korean Seong-Jin Cho who this afternoon gave one of the most outstanding recitals I have ever heard from a young pianist - 'prodigious' scarcely describes the effect. Of all the musically talented Asian nations, South Korea has always seemed to me to produce the most musically gifted pianists by far. Perhaps the fraught and tragic history of this country enables its musicians to more readily identify with the psyche of composers such as Chopin.

He appeared here two years ago at the age of 16 and this is what I wrote on that occasion:

The Chopin Ballade No: 1 in G minor Op. 23 was superb from the technical point of view but really showed no sign of understanding the work as a musical narrative - not a technical tour de force. The Chopin Ballades tell a story in absolute music - a type of mini-opera. The Op.10 Etudes were magnificent and thrilling with absolute technical perfection - of course a few lacked emotional maturity but then many pianists are simply too young to convincingly unravel the mystery of Chopin's psyche. That will come.

His 'Heroic' Polonaise of Chopin Op. 53 one of the grandest and most magnificent performances I have ever heard - the predominantly Polish audience leapt to their feet with a shout at the concluding chord. No bashing or hysteria just glorious tone and musical accomplishment. What a future this young man has ahead of him! He was so perfectly prepared in all aspects of concert pianism, technique and musical understanding - watch out you Europeans! 

The glorious tone Seong-Jin Cho produced, his immaculate articulation and exact phrasing, his poise at the instrument are the first thing one notices about his playing. 

How all this was accomplished in such an incandescent fashion by an 18 year old is beyond me but more was to come. 

His natural musical gifts were immediately clear.

After the interval the Chopin Ballade in F minor Op. 52 (1842-1843). He has now understood the musical narrative nature of Chopin's Ballades to a degree not obvious in the Ballade of two years ago. This was a far more mature performance, a wonderful performance in fact, of one of the undisputed greatest works of Western piano literature.

The sound and feather-light articulation of the earlier sections reminded me in sound of Horowitz at his peak or Godowsky - that incredible Fingerfertigkeit (finger dexterity) of the late nineteenth century. Exquisite beauty of tone with absolute delicacy and evenness of touch. Possibly the poetry and charm elude him on rare occasions but that will hopefully come with maturity. 

I have never seen the Professors at Duszniki so animated. Many were shouting 'Bravo' - a standing ovation - two weeping with the emotion of it. Remarkable scenes indeed in this super-critical musical environment.

 This recital was like the electric green of early spring growth as the trees are coming into leaf, a shimmering vibrancy of new colour and new life, pulsating with the force of nature that will inevitably last but a short time, miraculous to experience in its unique energy and delight.

How fortunate I am to have witnessed this explosion of talent. 

He has matured into an experienced performing artist since 2012. The glorious tone and fabulous articulation remain but he has begun to monumentalize Chopin which does not suit this most intimate of composers. His approach lacks the inherent lyrical poetry contained in the music. In the Preludes Op. 28 it is well to remember that the unease or if you will dis-ease (hyphen is intentional) of Chopin is spiritual rather than physical. The Scherzo in B flat Minor Op.31 was tumultuous but he missed the final high F! Such a shock for everyone including himself as it the final triumphant statement over adversity. The competition audience adore him.

               조성진군이 피아노로 표현해내는 음들과 닮은 Duszniki Zdroj지방의  수제 너와지붕

 

Charles Richard-Hamelin (Canada)

More of the great authority this pianist brings to the instrument! The Prelude Op. 45 and Nocturne Op.62 No:2 were sensitively and poetically presented. I enjoyed the rhythm and infectious sheer life force of his Mazurkas Op.33 immensely and the colour and tone - no comment on the idiomatic fidelity from me as a mere Australian! I am afraid I did not like his Barcarolle at all. It was not impressionistic, began with a crash of the gondola into the wharf and I feel sure Debussy would not have loved it either. The Sonata in B Minor Op.58 was magnificently conceived in a word - a fully wrought and powerful edifice with a heartrending Largo full of sensibility and yearning. He created an interpretation that did full justice to the Austro-German Sonata tradition that Chopin was enthralled by in this work. Finalist no doubt.

Incidentally in an interview with TVP he revealed he has enormous enthusiasm for the imaginative musicianship of Evgeni Bozhanov and hopes he soon comes to Canada to play.

이분이 예상한 사람중 파이널리스트에 든 사람이 10명중 8명 

List of the participants of the finals:

Mr Seong-Jin Cho (South Korea)             P

Mr Aljoša Jurinić (Croatia)

Ms Aimi Kobayashi (Japan)                      P

Ms Kate Liu (United States)                     P

Mr Eric Lu (United States)                       P

Mr Szymon Nehring (Poland)

Mr Georgijs Osokins (Latvia)                   P (based on hope and an enlightened jury)

Mr Charles Richard-Hamelin (Canada)  P

Mr Dmitry Shishkin (Russia)                   P

Mr Yike (Tony) Yang (Canada)               P

  'P' indicates my predictions (see above) if that means anything at all which it does not except to me. No achievement in that!      

8 out of 10 for Stage III.  Two of 'my poets' reached the Finals.           - Kate Liuㅡ Eric Lu      

--파이널 이후

18 October 2015

Seong-Jin Cho (South Korea)

As you might imagine from my previous commentary I keenly anticipated this final statement from Seong-Jin Cho in the competition. It was an immaculate performance from first note to last, the music superbly prepared as I have noticed from his previous stages. An truly outstanding example in every sense of the styl brillant of the period as composed by the quite wonderful Johann Nepomuk Hummel, Franciszek Lessel, John Field and Ignacy Feliks Dobrzynski  - all contemporaries of Chopin but of course lacking his melodic genius.

Stylistically the performance was absolutely as it should be - elegantly phrased, graceful with aristocratic poise, perfectly accurate dynamically matched notes (not one wrong note or even slight 'smudge'), glowing tone produced with the finest taste, finesse, colour and bel canto in the melodic lines especially in the Romance. Larghetto. He played with such ease and control it was enthralling to watch and hear. Such musical gifts this man possesses!

He had excellent communication with the orchestra and conductor.  Even at this young age he is already a full concert artist in the professional sense with an extensive career for someone so young. Was this the reason I longed for the spontaneous appearance of the poetry latent in his youthful soul to emerge from this flawlessly prepared and controlled surface? This sounds terribly unfair to such a young artist of these supreme gifts but is it possible to be too perfect? How I longed  for just a moment of extempore, spontaneous and unconstrained expression‎ in such a breathtaking performance.

Charles Richard-Hamelin (Canada)

‘As I already have, perhaps unfortunately, my ideal, whom I faithfully serve, without having spoken to her for half a year already, of whom I dream, in remembrance of whom was created the adagio of my concerto’ (Chopin to his friend Tytus Woyciechowski ,3 October 1829).

The work was written 1829-30 This concerto was inspired by Chopin’s infatuation or was it youthful love for the soprano Konstancja Gladkowska. Strangely it was published a few years later with a dedication to Delfina Potocka.

I have little to say other than praise this fine performance of the F Minor Concerto Op. 21, the first piano concerto Chopin wrote. For me it was almost faultless in all respects except perhaps a slight lack of finesse. I say this because the concerto followed the Mozart model and was directly influenced by the style brillant of Hummel, Kalkbrenner, Moscheles or Ries. It is hard to reproduce this intimate yet fragile glittering tone on a Steinway or Yamaha. Here again Chopin magically transforms the Classical into the Romantic style.

Hamelin was confident, relaxed, enjoying his playing immensely. He had excellent communication with the conductor. He retained a natural virtuosity that preserved the form and was always a servant to the conception and interpretation. He reminded me of the English pianist John Ogdon when young.

A singing full bel canto tone in the affecting Larghetto that was full of poetry and taken at just the right tempo. In many ways you could say that the whole work revolves around this movement. I always think of the sentiments contained in the 1820 poem by John Keats La Belle Dame Sans Merci when I hear this music with its passionate interjections

I met a lady in the meads,

       Full beautiful—a faery’s child,

Her hair was long, her foot was light,

       And her eyes were wild.

I made a garland for her head,

       And bracelets too, and fragrant zone;

She looked at me as she did love,

       And made sweet moan.

I set her on my pacing steed,

       And nothing else saw all day long,

For sidelong would she bend, and sing

       A faery’s song.

That final forty note fioritura of longing played molto con delicatezza always carries me away into Chopin's dreamy Romantic poetical world.

Tremendous joy, energy and drive in the Rondo Allegro vivace final movement in the exuberant style of a krakowiak dance. How Chopin must have loved the bucolic nature of the Polish countryside and its music! The Chopin extension of the Hummel piano concerto was here fully realized. Melody and bravura figuration (F minor to the relative major A flat for instance) wonderfully and authoritatively brought off with great balance of formal structure. This composition that lies between Mozart and the styl brillant was wonderfully executed as were the masculine gestures towards the concertos of Weber (following the cor de signal for example). Such a refreshing change from the E minor concerto we have heard seemingly endlessly, great though it is. A satisfying performance in every way expressing the dreams and exuberance of youth.

능력있는 분이 번역 해주시면 더 감사해요 ^^ 

[짝코]

제가영어공부를해야할듯하네요

[인생은한번뿐]

오~~제발 요약해서 번역글 올려주세요+_+~~~

[산뜻한]

How I longed for just a moment of extempore, spontaneous and unconstrained expression in such a breathtaking performance.---다시 읽어보니 이분이 그 이후 갈라와 갈라2.3 ,4 그리고 얼마전의 포즈난에서의 콘체르트1번을 들으면서 무척 기뻐했을거라는 생각이 드네요. 나 개인적으로 이번해 가장 마지막에 연주된 포즈난 연주가 (누구는 오케스트라가 영 아니었다고 하지만) 정말 탱글탱글하면서 이 사람이 원하는 즉흥적이면서 자발적이고 자연스럽게 우러나는 표현이었다고 생각되네요. 연주를 듣고 싶은분은 내일도 칸타빌레 갤러리에 가셔서 갤드라이브에 있는 연주들을 다운받아 들어보세요 .

[인생은한번뿐]

정보감사합니다^^~

[melody]

호주의 작가, 연주가이면서 사진가, motorist 인 블로거 님~ 영국 소설가 조셉 콘라드의 글도 멋지게 인용하면서 How fortunate I am to have witnessed this explosion of talent ! 라는 대목에서 이 분이 얼마나 성진군의 연주를 높이 평가하는지 알 수 있네요 각 참가자의 연주를 세밀히 듣고 시적이고 낭만적인 필치로 리뷰하면서 더구나 섬세하면서도 그 많은 원고로 써 내려가다니 참 놀랍고 멋진 분이라는 생각입니다 흥미롭고 좋은 정보 감사해요^^ ^^