Tureck International Bach Competition for Young Pianists: Winners’ Gala Concert
2nd Tureck International Bach Competition for Young Pianists: Winners’ Gala Concert The Rose Studio at Lincoln Center, New York, NY October 11, 2010
The legacy of Rosalyn Tureck is alive and well, not only through her treasured recordings, but through sustained efforts of devoted students, notably those of Golda Vainberg-Tatz, director of the Tureck International Bach Competition for Young Pianists. Held this year for the second time, the competition drew highly gifted and accomplished pianists (eligible from ages six through nineteen), playing in eight categories including the Short Preludes and Fugues, Inventions, Well-Tempered Clavier, Suites, Partitas, and various large works including the Concerti and Goldberg Variations. While no one won a prize in the Goldberg Variation category this time, it is impressive that there were several young entrants playing this large, demanding work. I sadly did not get to hear them, but what I did hear at the winners’ recital was excellent: all eight pianists were extremely well prepared and professional, and some were much more than that.
The printed program made no mention of ages (a refreshing change from circus-like prodigy-fests), so each player, whether pint-sized or college-aged, was presented in a professional context. Opening the program was the winner in the concerto category, Andrew Sung, playing the Concerto in F minor, BWV 1056. Self-assured, and showing admirable control and focus, he played in fine collaboration with his “orchestra” (a second piano, played by Damon Denton). His slow movement was fluid and graceful.
Natasha Hou Wu followed suit with a poised and precise Prelude and Fughetta in G Major, BWV 902. Evenness of touch and a firm intellectual grasp were much in evidence. One guesses that there must be some dedicated, unsung teachers behind such polish, along with Ms. Wu’s own gifts. The same may be said for the other players, including Sibo Wang, who played the Duet in G Major, BWV 804 with considerable intelligence and clear demarcations of phrasing. His polish was impressive too, though listeners were getting quite accustomed to that quality by this point!
The next winner, Zitong Wang, stood out as sensitive and lyrical in the Sinfonia in D minor, BWV 799. Going beyond intellectual and technical grasp, she seemed to probe the piece emotionally, especially towards its close.
Hilda Huang, co-winner with Jennifer Campbell in the Well-Tempered Clavier category, offered the A minor pairing from Book I and the A-flat Major one from Book II. With extreme rhythmic intensity, she brought out the conversational elements of the fugues with commendable skill.
Victoria Frances Young, winner in the Suites and Partitas category, played the French Suite in G Major, BWV 816, with brilliance and vigor. Some very fast tempi may have approached breathlessness, but there was an engaging ebullience to it all. With strong physical reactions to each crescendo (almost sending her off the bench), her involvement and commitment were clear.
Playing the Toccata in G Minor, BWV 915, was winner Jesslyn Julia Gunawan. Reflecting a sure sense of style, she also showed a genuine awareness of the more interesting harmonic twists and turns. The fugue had an infectious spirit, almost dance-like in quality.
Possessing perhaps the most maturity and artistry of all was Jennifer Nicole Campbell, who played David Auldon Brown’s Sonata No. 1, as winner of an additional contemporary music prize. (In addition to the Bach works, each contestant played a freely chosen contemporary work, post-1950.) A sensitive colorist and intelligent musician, Ms. Campbell reflected total immersion in her music. She is already a full-fledged artist, and she brought the evening to a fitting close.
Endorsements, greetings, and a prize sent from Evgeny Kissin (and flowers sent by his father) added to the sense that these young musicians are being inducted into a rare and special group; in fact, they are.
