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Heather Kurzbauer Attends the Queen Elisabeth Competition in Brussels and Reviews Perforrnances by the Laureates

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Heather Kurzbauer Attends the Queen Elisabeth Competition in Brussels and Reviews Perforrnances by the Laureates Vadim Repin, winner of the Queen Elisabeth International Music Competition, Belgium, 1989 ROWru S Heather Kurzbauer attends the Queen Elisabeth Competition in Brussels and reviews perforrnances by the laureates Heather Kurzbauer a assistd d I'un des con- petitions. Open to contestants between the today the Queen Elisabeth Competition com- cours les plus dprouvants et les plus pres- ages of 17 and 31, the Queen Elisabeth missions works for performance during both tigieux du monde musical, le Concours de la Competition is famed not only for its rigour eliminative and final rounds. Continuing on Reine Elisabeth d Brurelles: elle eramine but for the glories of its past. in the tradition of the Ysaye Competition, the I' interprltation des laurlats. At the turn of the century, Queen Queen Elisabeth Competition demands an Elisabeth of Belgium, an avid violinist and exacting reperloire. Heather Kurzbauer berichtet vom Briisseler patron of the afis, befriended her compatriot, Eliminative rounds at the 1989 contest Kdnigin-Elisabeth-Wettbewerb, einer der the violin virtuoso, Eugene Ysaye. Years consisted of two stages. In the first stage, anspruchsvollsten und angesehensten later, Queen Elisabeth commemorated their competitors were required to perform one of Veranstaltungen ihrer Art, und charakter- life-long friendship by pledging suppofi for a the three solo sonatas by Bach, a concerto isiert die Leistungen der Preistrriger. violin competition aimed at encouraging chosen two months before the beginning of young artists. The Eugene Ysaye the competition from the works of Bruch, Competition, initiated tn 193'7, drew presti- Lalo, Saint-Saens, Spohr, Viotti, Vieuxtemps If the road to recognilion for most young vio- gious jury members and competitors alike. or Wieniawski and three caprices by linists passes through the precipitous path of Carl Flesch, Joseph Szigeti and Jacques Paganini. According to the rules of the com- major vioiin competitions, the Queen Thibaud presided over a jury which gave the petition, 24 candidates pass through to the Elisabeth Intemational Music Competition of first prize to a young Russian violinist named second eliminative round in which they must Belgium lies at the pinnacle. Although leg- David Oistrakh. perform a work for unaccompanied violin by endary careers have been made without com- The Queen Elisabeth Competition, reor- Ysaye, an unpublished Belgian work specifi- petitive risk-taking, the majority of artists in ganised and renamed in 1951, is structured cally written for the competition and five the limelight have paid their dues in the con- along the same lines as its antecedent. works of appreciable difficulty including a test arena. The Queen Elisabeth Intemational Supplementing its commitment to high quali- Mozart concerto, one romantic and 20th- cen- altemates between violin, piano, composition ty, the competition encourages contemporary tury composition. and most recently, vocal competitions. The composition and performance. The Ysaye A mere run-through of a list of this mag- contest has eamed a reputation as one of the competition rules called for performances of nitude clues us in to the fact that although most prestigious as well as demanding com- Belgian compositions in several rounds and competitors might be young, they must have '\:.-$:.4 f &q' fmi ,$.' ,::\ ]. \\ , Ss; ' "s' 2nd,3rd and 4th prize winners were: left to right, Akiko Suwanei, Eugene Bochkov, Erez Ofer. a comprehensive knowledge of all aspects of ists must play a commissioned work, a sonata able to 'compete' with more assurance than the repertoire complemented by great stami- and a major concerto in rapid succession, it some of the other laureates who never had the na. Cognisant of these high-level demands, can be difficult to separate the sport from the opportunity to perform with orchestra, or the the Queen Elisabeth Competition awards ail music. A list of the statistics associated with means to borrow a Strad. Along with the 12 finalists prizes and the title 'laureate'. Jury the competition resembles the numbers which Russian contenders, young violinists of members responsible for maintaining the dominate sporting events. Candidates from 25 Oriental background, especially Japanese Competition's high standards in 1989 were countries competed at the Queen Elisabeth contestants, made a brilliant showing. Other Pierre Amoyal, Toshiya Eto, Tuomas Competition 1989.21 was the average age of 1989 laureates were a violinist from the Haapanen, Philippe Hirschhorn, Jaime laureates, significantly lower than the average Peoples Republic of China, a Chinese-Ameri- Laredo, Yfrah Neaman, Ricardo Odnoposoff, age in years past. The 1989 competition can, a Laotian-bom Canadian, an Israeli and a gor Oistrakh, Ruggiero Ricci, Werner marked the reappearance of competitors from young woman from West Germany. Scholz, Berl Senofsky, Carlo van Neste, Edith the Soviet Union after a 13 year hiatus. Only The presence of the Soviet contestants Volckaert and Peter Zazofsky. one laureate represented a Common Market doubtlessly played an important role in rais- A positive addition to the line-up of country. An overwhelming number of laure- ing the level of the contest. What made this events associated with the 1989 competition ates were of Oriental background and seven year's competition so special was the fact that was the initiation of an International Violin out of the twelve laureates were women. a variety of musical personalities reached the Master Course in which 24 participants could Active audience participation and wide media final round. Perfection in terms of execution benefit from instruction given by various jury coverage ol this high-level comperirive spec- and stylistic assurance help to win contests. members. Cecile Ferriere, Secretary General tacle turns the Queen Elisabeth Competitlon Audience members and a large radio-TV pub- for the Competition, should be credited for into the crowning event in a country which lic were treated to an exhilarating display of promoting this seminar which provided a pos- takes its musical culture seriously. individualistic musical personalities on the itive learning-oriented environment for gifted While one may assume that talent is the part of many of the laureates. violinists who did not reach the final round. moving force which separates laureates from Vadim Repin, a 17-year-old violinist Laureates at the 1989 contest were candidates, success at the Competition was from the Soviet Union created such an aura of required to perform a prescribed unpublished more directly related to the ability to deliver assuredness in his performances on the first work by a Belgian composer commissioned an optimal performance under pressure. Peter night of the final round that the audience for the competition, a sonata for violin and Zazovsky,jury member in 1989 and 2nd prize wondered how other laureates could compete. piano from a list which included the Debussy laureate in 1980 observed, 'No doubt, partici- A student of 1971 Iaureate Zakhar Bron. Sonata, the second and third Brahms sonatas, pating at the Queen Elisabeth Competition (Srneo June 1989), Repin had never srudied four Mozart sonatas or one of four Beethoven marks an exciting time in the life of any outside his native Novosibirsk. The evening sonatas. During the finals at the 1989 compe- young performer, but this kind of high-level opened with the first in a series of twelve ren- tition, only two of the twelve laureates chose pressure is not for everybody.' Not surpris- ditions ol the required work, Andrd Laporte's Mozart or Beethoven sonatas while six final- ingly, all three Soviet candidates reached the 'Fantasia Rondino con Tema Reale.' Repin ists interpreted the Brahms Sonata No. 3 Op. final round. Superb examples of a system showed off a lush sound and an impeccable 108. To end the round, laureates performed a which nurtures young talent with professional ear for nuance in what proved to be a conser- concerto of their choice with orchestral training, performance opportunities and vative interpretation of the virtuosic, light- accompaniment. instrumental loans (all three laureates played weight work fraught with quotations from a In a rigorous competition in which final- on state-owned Strads), these violinists were wide range of 20th-century composers. In the Brahms Sonata No. 3 Op. 108, Repin rendition of the Laporte work by the The evening ended with perforfrances unleashed the full force of his boundless tech- Canadian violinist, Annalee Patipatanakoon. by Hiroko Suzuki of Japan. Suzuki, obviously nique and musical talent. The sonata was pre- Here was a performer with a strong. projec- an impeccably-trained player delivered con- sented with a vital flair for colour change and tive temperament reminiscent of the 1971 servative performances with an accent on dynamic differentiation. Exaggerated rubatos First Prize laureate, Miriam Fried, one of Ms 'perfect' delivery. Like many contemporary in both violin and piano parts were somewhat Patipatanakoon's teachers. Unfortunately, the competitors, she offered poised renditions disturbing in an otherwise impeccable perfor- sonata performance was flawed by what which did not reach beyond the challenge of mance. Firmly planted on familiar territory, appears to have been a memory slip which in prize-winning. Repin delivered an extraordinary, winning turn had a negative effect on the laureate's Tensions ran high at Brussels' Salle des performance of Tchaikovsky's Violin concentration during the Sibelius Violin Beaux Arts on the closing night of the com- Concerto. Even in this age of perfectionistic Concerto. Perhaps this laureate could have petition, June 3 1989. Members of Belgium's technical demands, no one could dispute the been better advised to work through other royal family joined by an overflow audience fact that Repin's peformance, aside from contests on the competition circuit, building applauded Andr6 Laporte, members of the some unhappy moments in the orchestral up the necessary assurance for a contest as National Orchestra of Belgium and George accompaniment, was ready for immediate demanding as the Queen Elisabeth Compet- Octors, the conductor responsible for sympa- release.
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