SYDNEY INTERNATIONAL PIANO COMPETITION FINALS 2016: No. 2, Wednesday 20th July 2016, by Tony Magee

SIPC finals two, Wednesday 20th July 2016

Sydney Opera House Concert Hall.

Sydney Symphony Orchestra conducted by Benjamin Northey.

Oxana Shevchenko (29), Kazakhstan, Mozart 26 in D Major K.537

Oxana is a pianist of great skill with a flawless technique and immense musical insight. I generally don't like this concerto very much because it was written for a Coronation and therefore has all the associated grand fanfares and pomp and circumstance at the expense, in my opinion, of a genuine musical journey. However in the hands of Oxana, it was delivered in such a polished and refined way, with a minimum of emphasis on musical fireworks, instead delivering beautiful musical lines and glorious melodic runs. She chose the Italian Fazioli piano (as did all the performers on the previous night) and achieved bell-like clarity in her tone production.

Moye Chen (32), China, Mozart 27 in Bb Major K.595

A minimalist player - barely any body movement - just the fingers moving over the keys. The antithesis of Lang Lang. Incredibly relaxed, assured and confident. Obviously more experienced on the concert platform than the others. Chose the Sheguru Kawai piano. Slightly metallic sounding tone occasionally, I think due to the piano more than the player. A very mature reading and completely delightful.

Jianing Kong (30), China, Mozart 21 in C Major K.467

Back to the Fazioli. Arguably the most popular of all the Mozart piano concertos and containing some of his most mature and brilliant writing both for the piano and the orchestra. The classical form at its height. Played with a very developed tone, sometimes I thought a little too heavily, however this concerto, along with No. 24, anticipates some of the qualities of the Romantic style more than any others and a player could conceivably justify a more dominating and robust approach as was the case with Jianing. The slow movement was sublime and only marred by a constantly ringing phone from some office somewhere nearby (it wasn't an audience mobile), which continued for the rest of the performance. Inserted a brief improvisational flourish at the beginning of the third movement which was a nice touch and in keeping with the fashion of the day (Mozart's day). The only player to attempt anything of this nature. I hope the judges don't mark him down for it.

Notes: All players were at ease and as one with the orchestra and conductor. Steinway and Yamaha pianos not used on either night. The stand-out performance for me was of Andrey Gugnin from Russia from the night before.

SYDNEY INTERNATIONAL PIANO COMPETITION 2016 FINALS: No. 1, Tuesday 19th July, by Tony Magee

SIPC Final one, Tuesday 19th July

Sydney Opera House Concert Hall

Sydney Symphony Orchestra, Benjamin Northey.

Kenneth Broberg

Kenneth Broberg, USA (23), Mozart 25 in C Major K.503

A somewhat Romantic performance of a Classical era work. Most enjoyable and enthusiastically played but somewhat stylistically unconventional. Tempos occasionally ahead of the orchestra. Very large sound from the Fazioli piano, over-developed in places for the style of the concerto. First movement cadenza extremely stylishly played and with great conviction. The pianist had great fun playing this concerto, but at the expense of balance and authenticity.

Arseny Tarasovich-Nikolaev

Arseny Tarasovich-Nikolaev, Russia (23), Mozart 23 in A major K.488

Incredibly fluid and relaxed technique. Flat hands and minimum of movement to deliver an overall beautiful restrained sound, at times almost lacking in balance with the orchestra. At other times, he demonstrated glimpses of a broad majestic sound, almost tending towards Romantic piano volumes. A flawless performance and at times almost too perfect, bordering on robotic. His grandmother was the great Russian pianist Tatiana Nikolayeva.

Andrey Gugnin, Russia (29), Mozart 9 in Eb major K.271

Andrey Gugnin

Stand out performance of the night. Clarity and beauty of tone, fluid lines and phrases perfectly executed in a dialogue format within the piano part itself, but also with the orchestra. Demonstrated such a masterful understanding of the structure of the work and how to bring out everything it has to offer, which is considerable. Absolutely at one with the orchestra and the conductor, at times semi-conducting himself from the piano. A magnificent display of perfect dynamics, ebb and flow, sensitivity, polish and poise.

General notes: All performers chose to play the Italian made Fazioli piano. No performers improvised their own Cadenzas, all choosing instead to play the ones written out my Mozart.