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Estonia Pianos
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Originally Posted by Eduard Hanslick
I'm loving his Mozart. Just pure and unpretentious, gorgeous tone.


See, I find it rather academic and a little cold. Different strokes for different folks. It does sorta Remind me of Richter in this repertoire though.

Edit: I kinda wonder if the recording is leveling the dynamics and making the performance sound a little monotone to me. I feel like this is the case. I bet this sounds pretty awesome in the hall actually.

Last edited by MikeN; 06/04/17 10:32 PM.
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Originally Posted by Eduard Hanslick
I'm loving his Mozart. Just pure and unpretentious, gorgeous tone.


Agree!

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Originally Posted by Brendan
Originally Posted by Eduard Hanslick
I'm loving his Mozart. Just pure and unpretentious, gorgeous tone.


Agree!


And never out of sync with the orchestra (or orchestra out of sync with him). How does that happen.....so many sync problems with certain competitors but not with others.

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Excellent articulation from Tchaidze so far.

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Well Tchaidze sounds great except for the constant buffering.

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He needs to stop throwing his arms in the air at the end of every phrase. It looks incredibly affected.

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Loved Favorin, but this again is another case of performer #1/3 setting up #2/4 so well.


It's endemic in this competition!!!!

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Well, this conductor may not like that cadenza, but I love it.


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It's either Tchaidze or D. Kim at this point...

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The ornamentation might be just a little too sexy here. We're seeing a LOT of ankle.

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This is brilliant and scintillating playing but it's not moving me emotionally like Dasol's did.

Suddenly the orchestra sounds great again, there go those brass players!

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Neat cadenza but please, please stop with the arm throwing.

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Originally Posted by BeeZee4

Unless she kills it with the Mozart d minor concerto, don't think she will advance. And there are a lot of d minor concertos for the jury to hear.


Speaking of killing it, if it were me, I'd do the Alkan cadenzas (cadenzi?), which absolutely kill it as far as cadenzas for Mozart go. That would shift the whole atmosphere of this Mozart tinkle-fest. Plus, you'd have the added bonus of McGegan throwing up right there on the podium, which would definitely make the performance a standout.

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Well that had greatness in it! Tchaidze! Best synergy with conductor and orchestra.

Getting the Mozart bounce for the final: Tchaidze, Dasol Kim, Broberg, I think.


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Originally Posted by Eduard Hanslick
Neat cadenza but please, please stop with the arm throwing.


Oh, I liked the arm throwing! yippie


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Originally Posted by WhoDwaldi
Well that had greatness in it! Tchaidze! Best synergy with conductor and orchestra.

Getting the Mozart bounce for the final: Tchaidze, Dasol Kim, Broberg, I think.


Agree 100% based on the concerti. If we factor in the recitals, I'd add Sunwoo.

So, that's 4/6. Who are the top picks for the other two? The critics spoke very highly of Cheung today. I'm not sure Favorin made the sale frown

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Tchaidze: brilliant tonight, impressed with his own cadenza in the third movement. Red blooded Beethoven cadenza which matched the fiery Mozart 1st movement. And added ornaments where needed. He wins tonight.
Favorin: played way too safe in No. 21. Not enough sparkle in the 3rd movement. Did not look too happy backstage.
Honggi Kim: Problems with synching with the orchestra. Blame the conductor.
Yutong Sun: Meh, especially compared with Tchaidze.


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Originally Posted by Brendan
Originally Posted by WhoDwaldi
Well that had greatness in it! Tchaidze! Best synergy with conductor and orchestra.

Getting the Mozart bounce for the final: Tchaidze, Dasol Kim, Broberg, I think.


Agree 100% based on the concerti. If we factor in the recitals, I'd add Sunwoo.

So, that's 4/6. Who are the top picks for the other two? The critics spoke very highly of Cheung today. I'm not sure Favorin made the sale frown


Leonardo P., Han Chen, depending on tomorrow? Favorin may still be in the running?

I'll have to look back at the concerto with Leonardo--I thought his Liszt was a little meh in the second recital.

Love Chen's tone, but does he have enough "personality?"


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Did you know that competitors (for all instruments) in the Queen Elisabeth Competition get 7 days to learn their compulsory commissioned work? During this time period they have all phones and electronic devices taken away. In the 2013 piano competition it was a piece for piano and orchestra, I don't know if that's always the case.

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