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.