{"id":45165,"date":"2017-05-10T17:21:34","date_gmt":"2017-05-10T21:21:34","guid":{"rendered":"https:\/\/www.ludwig-van.com\/?p=45165"},"modified":"2017-05-10T17:48:58","modified_gmt":"2017-05-10T21:48:58","slug":"scrutiny-competition-heats-up-at-montreal-international-music-competition-finals-day-one","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2017\/05\/10\/scrutiny-competition-heats-up-at-montreal-international-music-competition-finals-day-one\/","title":{"rendered":"SCRUTINY | Competition Heats Up At Montreal International Music Competition Finals Day One"},"content":{"rendered":"
\"Giuseppe
nnounce the Giuseppe Guarrera (Photo: Brent Calis)<\/figcaption><\/figure>\n

<\/p>\n

MONTREAL \u2014 Last night, the final round of the Montreal International Music Competition (MIMC) kicked off with three pianists presenting vastly different concerti, accompanied by the Montreal Symphony Orchestra under the baton of Claus Peter Flor. The finals continue tonight, after which the judges\u2019 rankings will be announced at Friday\u2019s gala concert.<\/p>\n

In concerto performances, soloists tend to draw more inspiration from their surroundings than in a solo recital, as a concerto calls for the added input of a conductor and over 92 orchestra musicians. Thus, a successful performance requires consistent teamwork as well as clear projection of the soloist\u2019s musicality. Under these circumstances, the soloist could be either inspired to new sonic highs and lows by the orchestra\u2019s soundscape, or petrified by the magnitude of the endeavor, or flatly unprepared for the final round due to time constraints. Of note that the top six pianists at the MIMC will be ranked regardless of their performance in previous rounds.<\/p>\n

Albert Cano Smit began the evening with Brahms\u2019s Concerto No. 1 in D Minor. Weaving his way through the previous rounds with a program of fugues and textured music, Cano Smit had thus established his reputation as a structural craftsman. In this final round, his sound palette was particularly underdeveloped, and it was not until well into the first movement that he began warming into the orchestra\u2019s breadth. Ultimately, the concerto exposed his inability to sustain an expansive tonal range. This extended into a slight conflict of artistic vision between pianist and orchestra, and it was the latter that tended to keep the performance moving. Is this a reflection of Cano Smit\u2019s youth, and does this determine his suitability for chamber music settings? Time will tell for this musical pianist, though the competition results will likely reveal that he will not be the strongest finisher.<\/p>\n

In a sharp break from mainstream concerto repertoire, Zolt\u00e1n Fej\u00e9rv\u00e1ri performed a spirited and sensitive Bart\u00f3k Concerto No. 3. This proud representative of Hungary certainly tailored his entire competition program to his ethno-musical heritage, and consistently brought fresh energy to each round. In the Bart\u00f3k, Fej\u00e9rv\u00e1ri rose above its rhythmic particularities, demonstrating yet again his flexibility for various musical styles: throughout the performance, he shifted like mercury through various moods \u2014 some called for in the music, others intuited, always with a laissez-faire attitude. The jury will decide if this counter-current concerto will be convincing enough to outshine the others, which are more firmly rooted in the standard classical music repertoire.<\/p>\n

Giuseppe Guarrera delivered the thrill of the evening in a wholesome performance of the Tchaikovsky Concerto No. 1. In a sharp contrast to his previous rounds, the sunny Italian pianist assumed the temperament of a full-blooded Russian, and he augmented his existing musical sensitivity with a newfound authority of a concerto veteran-to-be. Pianist and orchestra worked well together with fluid interplay: at times delivering ideas in solidarity, at times waging a friendly competition for musical themes, their overall goal remained to collectively bring majesty to the concerto. A split second of potential collapse was quickly reintegrated seamlessly into the performance by Guarrera, without missing a beat. Otherwise zipping through technical flourishes and channeling moments of Italianate charm, Guarrera left the audience with much to admire: assuredness in his solo role, clarity of vision, a tasteful yet wholesome interpretation of the concerto, and a comfortable demeanor on stage. Many winners have been crowned thanks to this Tchaikovsky \u2014 has it secured Guarrera a spot on the MIMC podium?<\/p>\n

For judges and audiences alike, it is no easy task to distinguish between pianists such as those at the MIMC. Pianists and keyboard instrumentalists have one vital asset: the ability to play harmonies simultaneously with melody and other layers, which adds to the depth of interpretation. Whether or not at the MIMC, a pianist should strive to have the harmonies inform their playing; subsequent musical elements will then be built upon this foundation. Where others who had not capitalized on this dimension did not advance in the Competition, the judges will be watching for those who have integrated the composer\u2019s harmonies \u2014 along with many other considerations \u2014 among the remaining pianists.<\/p>\n

Musical Toronto continues coverage of the final day of the MIMC tonight.<\/p>\n

#LUDWIGVAN<\/i><\/b><\/h3>\n

Want more updates on Toronto-centric classical music news and reviews before anyone else finds out? Follow us on\u00a0<\/i>Facebook<\/i><\/u><\/a><\/span>\u00a0or <\/i>Twitter<\/i><\/u><\/a><\/span> for all the latest.<\/i><\/p>\n\n","protected":false},"excerpt":{"rendered":"

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