Hwaseong City Music Competition Presents New Artists Concert in Review
Hwaseong City Chamber Orchestra with featured winning soloists
Weill Recital Hall at Carnegie Hall, New York, NY
February 21, 2019
Though many decry what seems to be a cultural decline and lack of discipline in today’s younger generation, there are always rays of hope, and this listener encountered a dozen of them this Thursday at Weill Hall. Twelve young soloists, as winners of the Hwaseong City Music Competition, flew over from South Korea to perform concerto movements with the Hwaseong City Chamber orchestra – and they represented their nation well.
Though the orchestra was small (two winds and around thirteen strings), and understandably given the small stage of Weill Hall with a Steinway grand, the ensemble was valiant, and the soloists were as well. What could have been a marathon evening simply flew by as the parade of extremely accomplished youngsters gave their all, each for about ten minutes. Sadly, their ages and other information were not listed. The conductor led the ensemble admirably, though astonishingly his name was omitted from the program as well (more on that last issue later).
The first performer, violinist Chae-Lin Suh, played L’inverno (Winter) from Vivaldi’s Four Seasons. With a full sound and assertive musicality, she boldly set a high bar for the concert. Occasionally (and possibly with help from adrenaline) she seemed to have a slightly edgier tempo conception than the accompanying ensemble, but as the piece continued, she seemed to energize the group towards her way of thinking. One couldn’t help wishing that there had been an easier way for her to connect visually with the conductor who led from behind her with little chance of eye contact unless she did a one-eighty, but fortunately some expert ears were at work. One doesn’t want to guess Ms. Suh’s age, which could have been anything from fifteen to twenty-four – but suffice it to say that she is already quite an elegant young lady with much potential.
Cellist Man-Jung Kim strode onto stage next to play Popper’s Polonaise de Concert, Op. 14 (first year university, as one gathered from nearby audience members who said they knew him). It was an impressive performance full of élan. He ably negotiated the treacherous high notes in the early cadenza and was unafraid of using expressive slides to convey the grand Romantic spirit. At times the orchestra had some scruffy moments (as one had thought also in the Vivaldi – inevitable perhaps when each instrument is exposed without the cushion of larger forces), but Mr. Kim fared well. He was also somehow able to impart the occasional oblique nod and glance as a cue – well done!
Violinist Jung-Ho Byun dazzled next with the Introduction & Rondo Capriccioso of Saint-Saëns. Looking somewhere in the upper teens in age, he played with a brilliant sound and an impressive degree of accuracy in its most challenging passages. If the sixteenth rests at the opening struck one as surprisingly literal compared to freer versions, he found his comfort zone quickly. It will be wonderful to hear this young player in a year or so to see whether this very famous showpiece will acquire that “tossed off” quality alongside his already considerable technique.
When the little violinist Eun-Seo Cho walked onstage next, there was a slight gasp from some the audience, as she looked no older than perhaps ten years old and played nothing less than Sarasate’s Zigeunerweisen. She handled it with a mature grasp in the passionate Roma melodies and effortless spiccato bowing in its pyrotechnics. This reviewer was ready to jot down how this or that was not quite up to Heifetz’s rendition, only to stop with the realization that my own socks are older than this child, so let it suffice to say that she was amazing. (Now, won’t it be difficult to take that all back if one finds she is actually fifteen and has availed herself of some youth-enhancing technology? Well, then we’ll talk – but she would still be exceptional.)
Just when one thought that prodigies can’t come much smaller, in marched pianist Ye-Seo Nam, looking all of about six or seven. Surely there was some sort of Matryoshka nesting doll backstage – in which case, what could possibly be next? Not to lag behind, though, young Ms. Nam made easy work of Haydn’s Piano Concerto No. 3 in F major – not the third movement as listed in the program but the longer and more involved first movement, which had her fully engaged and moving to the music from the opening orchestral tutti. Her fleet fingers (even with the tricky thirds) may have occasionally needed a bit more “traction” to rein in the speed and keep in perfect alignment with the orchestra, but all in all she was outstanding.
After a bit of onstage shifting to move out the concert grand, the next player entered, pianist Yu-Na Kim, seemingly in her mid to late teens. In some ways, despite the advantage of a few more years, she deserves extra respect for her poise in following such pint-size players (scene-stealers who inspired the famous W. C. Fields advice, “Never work with children or animals”). Ms. Kim sailed through the third movement of Chopin’s Piano Concerto in E minor with grace and authority. The only minor suggestions would be to make some rapid phrase ends less clipped and perhaps to change color and character more in the E-flat major section. Then again, she was impressive simply for pulling off this challenging movement so beautifully with what must have been very little rehearsal (given so may soloists). She also is to be admired for treating the piece as chamber music; at one point, for example, she managed in a long upward run to wait on the penultimate note for the slightly lagging orchestra, so that her top note would be right with them – she is on the ball!
After intermission, the concert resumed with slightly older players in general. Baritone Ji-Seok Lee opened singing Hai gia vinta la causa! from Mozart’s Le Nozze di Figaro. He possesses a magnificent voice, excellent diction, and a commanding stage presence worthy of the Count who delivers this aria. Though there was little in his demeanor (and no gestures) to convey the dramatic aspects of the role, his second selection, Sanchon (or Mountain Village) by Du Nam Cho, elicited his heightened emotions and dramatic involvement – it was a pity that no lyrics were provided. One will certainly look forward to hearing this singer again.
More Sarasate followed, with the Introduction and Tarantella in the capable hands of violinist Sang-Yong Sin. One was becoming rather spoiled by violin virtuosity by this point, but Mr. Sin delivered his solo with tremendous brilliance. The same applied to the next violinist, Hae-Won Choi, who gave a commanding and extremely assertive account of the Praeludium and Allegro of Kreisler (curiously listed on the poster/program with first name “G. P.” rather than Fritz).
Following other players in a group concert is a challenge not to be underestimated, and as the time approached 10PM one felt for these young players. As my colleague Alexandra Eames described so well in a 2011 review (Rutgers Pianists in Review): “To relax and find one’s stride in just one or two pieces is extremely difficult and the performer must go through the same physical preparations (dressing for performance, arriving on time, trying the instrument, etc.) as he would for a full-length recital. Often the most sensitive artists can be sabotaged by the endeavor, whereas the more arrogant temperaments barrel through their nerves.”
Miraculously there was not a single meltdown the entire evening. Cellist Ye-Won Cho followed with a rhythmic and nimble-fingered account of the third movement of Haydn’s Cello Concerto in C major, and aside from the almost dizzyingly fast tempo that perhaps stemmed from heightened excitement, her account was excellent.
Two pianists were the last performers, starting with Yu-Min Cho, who took on the thorny third movement of Chopin’s Piano Concerto in F Minor. He honored the score with respect and mature musicality, and it was beautiful to behold. It was only through some overpedaling and smudges towards the end that one sensed some fatigue, undoubtedly from waiting through such a long evening. Mr. Cho has the potential for very distinguished playing.
The role of final performer fell to pianist Min-Sun Kim, and that is not an enviable assignment, but she gave an impassioned performance of the first movement of Rachmaninoff’s Piano Concerto No. 2. She was decisive and clear in her interpretation, delivering the work’s well-known lyricism with mature musicianship and a singing cantabile right hand, while also unleashing ample firepower for its peaks, particularly its high-voltage finale. It was a grand finale indeed, and one could only marvel at how the skeletal orchestra behind her rallied to meet her, playing their hearts out. Brava!
All the players returned to the stage for a final colorful bow, and a representative from the competition (whose name was hard to make out if it was indeed announced) remarked that the competition would be arranging another concert here within a year. He also introduced an honored guest (again with a name hard to discern) to present five special certificates, which went to cellist Ye-Won Cho, violinist Eun-Seo Cho, baritone Ji-Seok Lee, and pianists Ye-Seo Nam and Min-Sun Kim.
The Hwaseong City Music Competition’s organizers certainly know how to find talent, and now it is clear that they know their way here – all a good thing! They also appear to have some corporate backers to help make it happen (notably Kia via their poster); it should not take much more, therefore, to fine-tune the presentation itself (as the musicians had done). The program, really more of a concert flyer, seemed rather hastily assembled with too many typographical errors, and there should not have been any question as to the name of the conductor, the correct movement to be played, or the details of the competition itself (still a mystery after some web searching). There is probably also a way to arrange for a French horn or trumpet, even given limited space – but again, the musicians were remarkable.
Bravi tutti!
