About those first impressions: Round 2, Session 1
As we noted earlier, one of the abidingly wonderful aspects of CIPC is that everybody has a second chance to prove themselves. Now that we’ve reached the second round and returned to the top of the batting order, it’s time to revisit our first impressions and see whether our original thoughts have changed after a second hearing. On Friday afternoon, the original six players lived to perform again.
Program for July 31: Round 2, Sessions 1 & 2
Friday, July 31
1:00 pm – Anna Shelest (USA): Bach’s Prelude and Fugue in E flat Minor, WTC I: 8, Chopin’s Sonata No. 3 in B Minor, Op. 58. 1:40 pm – Hoang Pham (Australia): Beethoven’s Sonata in E flat Major, Op. 7, Chopin’s Etude in G flat Major, Op. 10, No. 5 (Black Key), Adès, Darknesse Visible (1992). 2:20 pm – Olga Kozlova (Russia): Schumann’s Fantasie in C Major, Op. 17, Ligeti’s Etude No. 13 (L’escalier du diable). 3:15 pm – Jae Weon Huh (Korea): Scarlatti’s Sonata in F Major, K. 17, Schumann’s Kreisleriana, Op. 16. 3:55 pm– Yekwon Sunwoo (Korea): Ligeti’s Etude No. 10, (Der Zauberlehrling), Brahms’s Sonata No. 3 in F Minor, Op. 5. 4:35 pm – Kyoko Soejima (Japan): Bach’s Partita No. 5 in G Major, BWV 829, Vine’s Sonata No. 1 (1990).
7:00 pm – Dmitri Levkovich (Canada): Chopin’s Barcarolle in F sharp Major, Op. 60 Scherzo No. 2 in B flat Minor, Op. 31, Vine’s Sonata No. 1 (1990). 7:40 pm – István Lajkó (Hungary): Ligeti’s Musica Ricercata, Nos. 1-3, 7-10 Etude No. 10, (Der Zauberlehrling) Chopin’s Fantasy in F Minor, Op. 49 Waltz in A flat Major, Op. 42. 8:20 pm – Maria Masycheva (Russia): Haydn’s Sonata in E Major, Hob. XVI: 31, Brahms’s Seven Fantasies, Op. 116. 9:15 pm – Sean Chen (USA): Schumann’s Kreisleriana, Op. 16, Carter’s Caténaires (2006). 9:55 pm – Chun Wang (China): Schumann’s Fantasy in C Major, Op. 17, Messiaen’s Le loriot (Catalogue d’oiseaux, Book I: 2).
Top of the Draw: Round 1, Session 1
This analogy is going to break down soon, but I’m discovering that the opening rounds of a tennis tournament and a piano competition have a lot in common. You get to witness the strengths and weaknesses of new players (he’s going to have trouble with his serve; she’s having problems balancing the voicing on this piano…) and you have the opportunity to see how grace operates under fire (who’s going to clutch and doublefault at match point; who’s going to lose control of the tempo in the final presto). And you get to hang out in a temporary village of enthusiasts that also resembles a medieval jousting tournament. As the crowd assembled at the Play House this afternoon, we saw a lot of people we knew we’d find here, and it was fun to catch up on inside talk.
Arrival Day: They’re here!
CIPC executive director Karen Knowlton looked relieved a few minutes after five o’clock on Monday when thirty-two of the thirty-three contestants were neatly arranged on chairs on the Mixon Hall stage at CIM, ready to draw for their slots in the competition schedule.