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SEEN AND HEARD COMPETITION REPORT
BBC Young
Musician of the Year 2008 Grand Final Concert
: Soloists, BBC National
Orchestra of Wales, Thierry Fischer (conductor), Millennium
Centre, Cardiff, 11. 5.2008 (GPu)
Jadran Duncumb (guitar)
David Smith (flute)
Peter Moore (trombone)
Jim Molyneux (percussion)
Erdem Misirlioğlu (piano)
Even those less than fully enthusiastic about competitions find it
hard to be wholly negative about this one – the BBC Young Musician
of the Year. It never seems to have the feeling of cutthroat
competition or proto-professional jealousy; the youth of the
competitors means that there’s nothing ‘definitive’ about things,
no sense that careers are being made (though they are certainly
being given a flying start) or broken. It usually feels more like
a celebration of youthful music making of the very highest
standard, rather than a matter of winners and losers. Mind you,
the fifteen previous winners (2008 being the thirtieth anniversary
of the biennial competition) contains some very impressive names,
names that suggest that previous judges have had some pretty
shrewd eyes and ears – they include, after all, clarinettist Emma
Johnson, horn player David Pyatt, pianist Freddy Kempf, cellist
Natalie Clein and violinist Nicola Benedetti, to name but a few.
Of those who got to the final and didn’t ‘win’, one might mention
the admirable Alison Balsam.
After several months of auditions and qualifying rounds, five
winners, each from a different instrumental category, arrived in
Cardiff for ‘The Grand Final Weekend’ held in the imposing
surroundings of the Millennium Centre in Cardiff. Each played a
concerto on Saturday (10th May); then on the following
day each played a part of that same concerto, plus another solo
piece.
Other commitments meant that I was unable to be at the Concerto
evening (which was recorded for broadcast on BBC Radio Three).
However I was able to watch/hear it online at the competition’s
website (http://www.bbc.co.uk/youngmusician/).
I wouldn’t presume to make serious judgements on that basis,
though it was obvious that the all-male group of finalists (the
first time in the competition’s history that all the finalists
have been male) were, one and all, both accomplished musicians and
well able to handle the occasion. Eighteen year old Erdem
Misirlioğlu’s performance of Rachmaninov’s Rhapsody on a Theme of
Paganini readily drew and held the attention, the soloist absorbed
but never merely private, his pleasure and involvement vibrantly
communicated, even down my Virgin Media cable. Peter Moore, a mere
twelve, gave a remarkably mature performance of French composer
Henri Tomasi’s Trombone Concerto, his beauty of tone impressive
and the whole shot through with flair and unassuming musical
intelligence. In Rodrigo’s Concierto de Aranjuez, Jadran Duncumb,
another eighteen year old, seemed a guitarist of subtlety and
inviting intimacy, while seventeen year old percussionist Jim
Molyneux was an energetic soloist in Michael Torke’s Rapture, his
energy always put to precise musical ends, and complemented by
playing of considerable impact. Eighteen year old David Smith has
a charismatic stage presence and his performance of Ibert’s Flute
Concerto did considerable justice to a subtle piece, especially to
the legato passages of the slow movement.
At the Sunday concert – it really
did feel more like a celebratory concert than the final of a
competition – such impressions were very largely confirmed.
Indeed, I thought even better of all of the musicians hearing them
live. In any case, several people who had been at both concerts,
told me that most of the soloists seemed more relaxed on the
Sunday, and that the standard of performance, in most cases, went
up a notch further. The first half kicked off with Jadran Duncumb
playing music by Leo Brouwer, the first movement of the Sonata for
guitar, music of great intimacy, often very quiet, and a brave
choice to start off a performance in a venue as large as the
Millennium Centre. Duncumb’s utter conviction, his beautifully
shaded dynamic control and his confident use of silence, made for
a compelling, attention-grabbing opening. In Ian Clarke’s Zoom
Tube David Smith had chosen a piece well-designed both to show off
his technical dexterity and, I suspect, to reveal one, extrovert,
side of his personality. With its percussive vocalisations,
breath-filled passages, use of multiphonics and the like, Zoom
Tube owes as much to Stockhausen and Berio as it does to Eric
Dolphy and Ian Anderson. David Smith clearly relished it and all
its effects, and persuaded one that it was all rather more than
just a display of technical prowess. Percussionist Jim Molyneux
played his own composition Midsummer Haze, on marimba. A calm,
peaceful work, Midsummer Haze showed off the precision of his
stickwork but, more importantly, his innate musicality, his
capacity to create and sustain mood (as both composer and
performer). In Midsummer Haze we saw a side of Molyneux inevitably
largely absent from the ‘concerto’ by Torke. Erdem Misirlioğlu’s
performance of ‘Aufschwung’, from Schumann’s Fantasiestücke,
Opus 12, had plenty of radiant poetry in the middle section, and
plenty of panache in the handling of the rich harmonies of the
opening. Misirlioğlu’s performance manner seems relaxed and
generous, complex music presented with an apparent effortlessness
that is altogether unflashy. The precocious trombonist, Peter
Moore, closed the first half with a moving, gorgeously lyrical
reading of Sång till Lotta by Jan Sandström. Moore’s tone and the
beauty of his phrasing was all the more impressive heard in the
flesh.
The second half of the programme
began with some rhapsodic playing from Erdem Misirlioğlu in an
extract from Rachmaninov’s Rhapsody, full both of sparkling runs
and some seductive slow passage-work, full of emotion but quite
devoid of excessive sentimentality. Jadran Duncumb’s playing of an
extract from the Rodrigo concerto didn’t perhaps have – by the
very highest standards – the brightest Spanish sunshine that
the music can exude – but it was a very assured and perceptive
performance, none the less. Duncumb’s development should be well
worth watching. The third movement of the concerto by Tomasi, as
played by Peter Moore, mixed lyricism and vitality of rhythm in
equal proportions; I once heard this concerto played several times
in a brass competition. It was only now, in this performance, that
I realised how good a piece of music it is, that it has the charm
and power to appeal to audiences not primarily interested in
matters of instrumental technique. David Smith’s performance of
the andante from the concerto by Ibert confirmed my earlier online
impression that this was the movement to which he could bring the
greatest assurance and musical certainty. This was a sensitive
reading, the music fully interiorised but played with a generous
communicativeness. The second half closed with a movement from
Torke’s Rapture, performed with incisiveness by Jim Molyneux, his
interplay with the orchestra exemplary.
Indeed, all these young musicians seemed to have taken on board
with remarkable speed and effectiveness the task of playing with a
full, professional orchestra, doubtless a new experience for all
of them. That there was so much successful musical interplay
between soloists and orchestra (certainly in the Sunday
performances) says much for their musicality and rapidly
developing maturity – and, of course, for the supportive hard work
of Thierry Fischer and the BBC National Orchestra of Wales.
Some minor grumbles – well, fairly minor. Admirable as the BBC’s
support of this competition is, it is sad that so little of the
actual music gets on to TV nowadays. The week before the Grand
Final brought a series of five programmes, one for each
instrumental category, on the digital channel BBC 4. But these
were essentially documentaries on the family background and
education, and the personalities, of those competing in each
category final. Only the briefest snatches of music were actually
heard. The Concerto final was broadcast online (only). But not
many of us have the facilities to really do justice to such an
online presentation. I haven’t yet seen the version of the Sunday
concert shown on BBC 2 (since it was being broadcast as I was
travelling home). I presume that most (all?) of the music
performed in Cardiff was heard in that broadcast – though that
still means that TV viewers (whose license fee, after all, helps
to make the event possible) were able to see and hear only one solo
piece and one movement from a concerto by each musician.
The event in the Millennium Centre was thoroughly enjoyable, and
those of us there were fortunate to hear a lot of fine music.
Inevitably there were disruptions and more than one hiatus caused
by the demands of those recording the show for broadcast soon
after its completion. That is understandable and no cause for
complaint. But what does deserve complaint (and what was
complained about by more than a few audience members to whom I
spoke) was the stage lighting. Its garish, intermittently
sparkling colours, constantly changing in ways wholly independent
of what was going on in front of them, resembled nothing so much
as a job lot bought at the closing-down sale of a recently defunct
night club. It contributed nothing and distracted attention from
performers and music. If the powers that be felt that five young
musicians, and a fine orchestra, playing classical music needed to
be sexed up they were wrong; they were even more wrong in the way
they chose to do it, a way that was dated and naff.
But let such grumbles not stand in the way of warm appreciation of
an event that was rewarding and even inspiring – in the particular
way that perhaps only top class youthful musicians can be. It
would have been entirely possible that any one of these five young
men might have been chosen as the overall winner. Several of them
we shall surely see and hear of again in years to come. A number
of those who got no further than the category finals were also
rewarded for their excellence and promise. The harpist Cecilia
Sultana De Maria, pianist Sam Law and percussionist David Elliot
shared The Walter Todds Bursary, awarded to a musician or
musicians “who do not reach the Grand Final but show great
promise”. The Tabor Award for Promising Talent went to the
Scottish pianist David Foyle.
And the winner overall? The choice of the judges (Paul Daniel,
Catrin Finch, Richard Morrison, Nicola Benedetti, chaired by Ben
Foster) fell on twelve year old Peter Moore. The extraordinary
maturity of his playing, a maturity which paradoxically retains
a freshness and innocence, a directness, an uncluttered vision of
what is at the heart of each piece of music that he plays, is
certainly remarkable. He becomes, I believe, the youngest ever
winner of the competition. But all five finalists will surely have
gained much – in experience, in self-confidence, in musical wisdom
– from their appearance here and their preparation for it. It is
in that larger gain, rather than in the selection of one ‘winner’
(however worthy) that the value of this competition resides.
Glyn
Pursglove
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