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Estonia Pianos
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And now back to the sports desk in the studio... grin


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I would be shocked if Lim didn’t win the mozart concerto prize if not the whole thing. His 22 was fantastic.

Last edited by boo1234; 06/11/22 10:41 PM.
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Yes, Lim’s Mozart was quite wonderful. He had great dynamic control and good balance between the hands, unlike in the Transcendental Etudes. It was beautiful playing and the audience reacted with great enthusiasm.

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How funny would it be if all the non 20s made it? Although i think it is unlikely since the one who played 9 was not that good. But, I think there is a good chance for 4 of the non d minors to make it.

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Lim's rendition of #22 was indeed a successful enterprise. First of the concerto makes a lot of demands on the wind and horn sections, the soloist is not always highlighted. But his interactions with those orchestral sections when called for was impressive. Tonal colors and phrasing were spot on. Addition of decorative ornamentation showed a pianist in full control of his musicianship, despite his youth. This Mozart only solidifies his chances of advancing.

Were that Clayton took more chances in the so called "Elvira Madigan" concerto. His playing was solid, phrasing and shaping of the elements were all there, but he could have done more to impress. His fate now lies with the jury.

Ilya Shmukler had to follow young Lim (nice that he gave a congratulatory embrace to Lim before going onstage). The final d minor concerto of the competition and by then the orchestra was probably fatigued by it. Ilya did them no favors as well, he played well enough but not enough to stand out, as Choni gave a stronger rendition. Missed notes in transparent Mozart also plagued his playing. If he doesn't advance I believe it will only help Clayton.


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Stephenson - Much improved from his solo round! I was actually wondering whether he had the finger technique to bring this across or not, but he delivered. It had charm elegance, and was in sync with the orchestra (aside from one missed entrance in the third movement, which he caught). The only thing that I didn't like was that he did none of the eingangs and it was the equivalent of awkward conversational silence. The first two movements were the best.

Shin - Probably the best D minor, or at least tied with Choni for the best. Super confident, dramatic, the right tone quality, etc. He again comes across as a serious musician with the technical skills and musical intelligence to make his interpretations work.

Lim - The kid's going to win a prize, or possibly the whole thing. There's no debating it at this point; he hasn't faltered in any of his rounds, has played the hardest programs and concerti (there's a reason why no one plays this concerto, it's crazy difficult), and seems to only get better as he goes. I really gotta give it to the woodwinds in this performance, especially the flutist. She was amazing and kept up with his tempo in the finale (which, to be fair was more on the Allegro assai/vivace side than an elegant Allegro 6/8).

Shmukler - Had the thankless job of not only playing after Lim but also playing the last D minor. In both categories, it didn't reflect well. He did fine in spite of some smudges, but I'm not sure if it's enough to pass him. His solo program was on a higher level.

Here's my educated guess:

Kamei
Lim
Choni
Geniushene
Stephenson
Tadokoro/Shin

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I don't quite get the notion that Clayton doesn't "have fingers" and is primarily a chordal pianist. He has fine technique across the board! I'm seeing, but not hearing a great deal of tension in most of the Koreans, which is dangerous because that tension is being "rewarded" and will potentially come back to bite them later in life with physical problems.

Is there some new "super urtext" version of K. 467 that was being followed? You used to hear exactly the same "little cadenzas" from everybody who ever played/recorded this. laugh

I do really admire Lim. And I wouldn't rule out Shmukler from the finals, there's just something about his playing that juries tend to like.


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Pretty good assessment/review, I think, agreeing with consensus here. smile

https://www.onstagentx.com/cliburn/...lEeRxQSbG11GOrGaXid1X39Z6mNXD3JVkQ5fuku4


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Originally Posted by WhoDwaldi
I don't quite get the notion that Clayton doesn't "have fingers" and is primarily a chordal pianist. He has fine technique across the board! I'm seeing, but not hearing a great deal of tension in most of the Koreans, which is dangerous because that tension is being "rewarded" and will potentially come back to bite them later in life with physical problems.

Is there some new "super urtext" version of K. 467 that was being followed? You used to hear exactly the same "little cadenzas" from everybody who ever played/recorded this. laugh

I do really admire Lim. And I wouldn't rule out Shmukler from the finals, there's just something about his playing that juries tend to like.

I felt there were some control issues in the Waldstein and the first movement of Gargoyles in particular. Maybe it's more that his finger technique is less reliable after a certain tempo? He chose more moderate tempi for the Mozart last night and it was perfectly under control. Of course, that's not possible in the last movement of the Rachmaninoff, so...I might be wrong, but as I've said I think he's good to for the finals.

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My sense having been there laugh is that CS gets tangled up occasionally and unpredictably in finger passages during nervy conditions, but powers on through. A "not my fault, I practiced" thing. grin


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I haven't been able to catch most of this live but have they always been doing this Steinway shilling? Kind of disappointing.

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Originally Posted by vers la flan
I haven't been able to catch most of this live but have they always been doing this Steinway shilling? Kind of disappointing.

Well they are a sponsor. What do you expect? These things don’t pay for themselves.

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If only Mason & Hamlin could be a sponsor. This is in the USA after all. I would just love to hear more elite pianists play on M&H's!


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I suppose it’s fair not to expect anything else considering Steinway’s history of strong arm business tactics, but the reason it’s disappointing to me is that the competition did previously offer a selection of other pianos.

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My choice for the Finals:
Clayton Stephenson
Kamei
Lim
Todakoro
Choni
Shin
Kim or Anna


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My choice for the Finals (in rough order of preference) -
Kamei , Lim - both are a notch above everyone (which most people seem to agree on)
Kim - liked his playing a lot since the 2017 competition, hoping he advances this time
Tadokoro - not a huge fan of his prelim, but he definitely grew on me in later stages!
Geniushene - like her style a lot, very elegant playing
Sun - semis wasn’t his best, but overall love his playing. Hoping he gets a chance this time in the finals!

Could go either way -
Park - liked his Prokofiev, Schumann was meh but overall I like his style.
Shin - did well overall, not really any strong feelings to be honest.
Khandoni - ditto Shin
Choni - ditto Khandoni

Not as impressed by their playing -
Shmukler - good pianist, very solid facility, but I felt his playing was a little monotonic (especially dynamics). Maybe others heard differently though idk. Felt the same way in 2017 too.
Stephenson - good pianist, but to be honest, his playing did not sound like it was on the same level as the other competitors (especially technically) and wasn’t really convincing.

Will be interesting to see what the jury decides

Last edited by pianoforever2080; 06/12/22 11:15 PM.
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Finalists:

Choni
Geniushena
Khandohi
Lim
Shmukler
Stephenson

Last edited by Piano Doug; 06/12/22 11:45 PM.
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Pretty surprised by these choices. Kamei and Honggi Kim in particular seemed deserving. I didn't think Shmukler or Stephenson were on the same level.

Last edited by adoser; 06/12/22 11:49 PM.
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Huh. Well I guess Kamei is this competition’s (Dasol Kim, Frederic Chiu, Ivo Pogorelich…)

Not bad company, frankly.

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I am surprised by Stephenson, Shmukler, and Khandohi.

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