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She done good. But everyone is so darn good. I so want her to get a big win. We'll see. Meanwhile, Daniel Le playing his heart out right now. Delightful Chopin Ballade #4.

Oh Lord. People started applauding after the big C major dominant before the coda. Can't they hear that this piece is in f minor?

Hehe, trust me, you can, at least I would if I played to your standards. Medtner and Bartok were my favorites.
Are you hoping to meet up with Hamish Milne and do a little discussion on "the poor man's Rachmaninoff"?

Don't forget Demidenko, who has made some excellent Medtner recordings.

A PW member is playing right now!

Awfully difficult to do Gaspard justice at 12.30 ... Didn't have quite enough time to practice in the morning. I hope good old Maurice has mercy. Meanwhile, I've understood that the videos that are appearing on YouTube are illegal and not authorized by the competition. They might disappear at some point, who knows...


Already managed to talk briefly with the latter after the gala concert - hopefully will get a proper chat with both of them sooner or later! Friendly fellows, it seems. A pianist I know in London organized a Medtner symposium earlier this year where I was supposed to go - Hamish was there, as well. If the music world is small, the Medtner world is certainly a lot smaller! In case mr. Gugnin passes to semifinals, there'll be a chance of hearing the Sonata Romantica. Best of luck with claiming that Medtner sonatas are hard to like after hearing that one... :p

He's just about to play Islamey, which I only just learned is Op. 18. I guess they mention that so as to distinguish the piece from all Balakirev's other Oriental Fantasies. Based on his playing thus far, I would expect that we'll be hearing Gugnin play the Medtner.

Not so sure about that last part any more. Islamey was kind of slow, at least until the very end, and not perfect!

Great job, fnork! The Bartok was my favorite from your first program - really exciting.

Of the Australians, my feeling is that Neeman is by far the best - it just seems like he's done this more than the others and is capable of juggling the repertoire.

Many in the standard competition crowd (Rashkovsky, Gugnin, Tsarevich, Kudo) are playing at the same level as they did in other events - it's always interesting to see if people are improving or not.

Also, I'd like to say that this is REALLY cool:

https://youtu.be/5Ef8fBVTTG4

Having the jury give an opening concert is pretty rare for piano competitions. It really haves them prove their mettle. Wouldn't it be....ahem....interesting if some other international competitions required the same of its jury members? Demidenko was amazing and I'm again rethinking Medtner.

I'm curious as to why the pianos keep getting switched (including in the Gala Concert by the jurors).

For instance, Rachel Kudo played on Fazioli in round 1 and Shigeru Kawai in round 2. Were the switches imposed on them, so that Steinway, Fazioli, Yamaha and Kawai got equal performance time?

Basically, yes. The idea is that by the end of the semis, semifinalists will have performed on all four pianos - a sort of simulation of the situation we all have to deal with when performing, not really knowing what piano or brand we'll end up playing on. After semis, the chosen finalists will have a chance to select their preferred piano for the concertos. So, apart from the competitive aspect for performers, it is also a bit of a competition for the different manufacturers...

Thanks for the comments! I'd be cautious to say too much - especially since I've only managed to hear a few pianists - but out of the Australians, I did hear Jeremy as well, who did extremely well in his Ligeti/Scriabin opening program. Also, few are perhaps aware of it, but another Australian competitor (Peter) was asked to step in just a week ago, due to a last-minute cancellation! Much respect to him for pulling off programs that included Szymanowski's 3rd sonata, Ligeti Etudes etc, on such short notice.

It should certainly be done more often! Unfortunately I have also witnessed some...ahem...interesting performances on such occasions. Jurors totally forgetting the score, or performing reasonably easy pieces with score and STILL getting lost, etc. Anyway, one of the nice aspects of this competition is that many jurors are primarily known as performers, rather than either teachers or jurors. Piers has done great things in re-shaping the competition.

Love your playing and your commitment, fnork. I was bowled over by the Bartok in the first recital. Then a beautiful, clean, unsentimental reading of the Berceuse in #2. Very nice tempo control in Ondine, which you hardly ever see (most people rush the easier bits) and lovely cascades of color. I love the way you refuse to rush, as was further evident in your performance of Gibet; in fact, this was the most haunting version of that movement I've ever heard. I felt that there was a minor struggle going on between you and the piano in Scarbo, though that may have just been my imagination. Anyway, very fast, very exciting, and beautifully executed ending. Bravo mate!

Did you by any chance happen to see/hear my friend Lindsay's Bartok Sonata? I thought it was glorious! Almost as good as your etudes.

The semi-finalists are just about to be announced.

Congrats on making it this far, Martin! It's no small feat to make even the first cut for these things nowadays.

+1

Yes, and the Chairman called him "the one and only" for a reason!