IVCI Romantic/Post Romantic Finals - day one


Another day, another winner.  23-year-old Yoo Jin Jang not only

played the best of Sunday's four IVCI participants, but she gave us the best

account so far of the required piece written for the competition, Ellen Taaffe

Zwilich's Fantasy for Violin Solo.  Since

the composer gave the players the liberty to "give us" the piece as they see

it, how do I know this? Because Jang played it the most beautifully of anyone

preceding her.  The

sustained tones, the passage work, the trills, the double stops in fourths--they

were all rendered in dulcet tones with a flowing momentum.  Its brief, Gershwinesque allusion was

there but was not highlighted; it flowed past as part of the whole.

Unlike Saturday's Stephen Waarts, who did as well with his

Bartók Solo Sonata, Jang maintained her playing level throughout her four-piece

recital, including Myths, Op. 30, by

Karl Szymanowski; Beethoven's lovely last sonata, No. 10 in G, Op. 96; and the early,

four-movement Sonata by John Corigliano.   I would rate her so far with Tessa

Lark as the two best fiddlers of the Ninth Quadrennial.  Perhaps I'll change my mind after

hearing Monday's last semi-finals recital.

Ji-Young Lim, also from S. Korea,

delivered outstanding technique and well honed dynamic control in Beethoven's

Sonata No. 3 in

E-flat Major, Op. 12 No. 3; Zwilich's Fantasy; Brahms' impassioned Sonata No. 3 in D Minor, Op. 108; and the Introduction

and Rondo Capriccioso, Op. 28, by Saint-Saëns.  But her tone was incessantly

wobbly--her sustained-note pitch variation going at least a half-step either way.  By any other name

that is too-wide a vibrato, giving one the sensation of her being off-pitch

along with being on-pitch.

The two remaining players, Kristi Gjezi, 24, France, and

Bomsori Kim, 24, also of S Korea played their pieces with less tonal

consistency than the first two, which means that at times they made an

attractive sound; at other times they didn't.  I should note that all four

participants--even all 12 heard so

far--are good enough to make a career out of solo concertizing or chamber

playing.  But,

as I stated earlier, we must have a winner, and the choice anyone makes should come

from who does best in the most difficult-to-achieve criterion.  More on this later.  Sept.

14; Indiana History Center


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