You are currently browsing the tag archive for the ‘Fei Fei Dong’ tag.
By Daniel Hathaway
Cleveland, OH — August 8, 2011
The Cleveland International Piano Competition awarded $116,000 in prizes and another $26,000 in consolation prizes during the final event of the 2011 Competition in Severance Hall on Sunday afternoon, August 7.
After remarks from host Robert Conrad of WCLV, Dr. James Gibbs, President of the Piano International Association of Northeast Ohio, Karen Knowlton, Executive Director of CIPC, and a nod from jury chair Peter Frankl, who declined to speak (Conrad passed along Frankl’s opinion that he’d talked enough in the last ten days!), the following special prizes were awarded: Read the rest of this entry »
By Mike Telin
Cleveland, OH — August 1, 2011
Five pianists played in the penultimate session of the second round on Monday afternoon.
Marina Baranova (30, Ukraine/Germany) gave sensitive and stylish readings of Scarlatti’s Sonatas in C Major (K.159) and f minor (k.466). Her discrete use of pedal and clear articulations, combined with some nice ornamentation, made for pleasurable listening. Continuing with two works of Schumann, the ABEGG Variations, Op. 1 and Faschingsschwank aus Wien, Op. 26 Ms. Baranova once again showed her technical command of the instrument, and made easy and clean work of the numerous rapid scale passages in both pieces. In general she approached the ABEGG Variations from an introspective point of view, creating some beautiful phrasing and lovely articulations. These fine qualities also featured in her performance of Faschingsschwank aus Wien, along with grand fortissimos. Read the rest of this entry »
by Daniel Hathaway
Cleveland, OH — July 29, 2011
Friday afternoon brought new faces and some fresh repertory to the penultimate session of the first round.
Ms. Marina Baranova (30, Ukraine/Germany) began the session with the first Beethoven “Waldstein” Sonata to appear in the playlist thus far, closely followed (with hardly any pauses) by Ligeti and Chopin. She took a businesslike approach to the first movement of the Beethoven. There were some tangles in scalar passages and an infelicitous plunge into the recapitulation. She paid more attention to voicing in the slow, second movement, with fine results. She did an intereresting thing at the beginning of the finale — starting it very slowly and softly as though the main theme were emerging from a haze, then making a huge crescendo into the restatement of the tune. Throughout, dynamics seemed to hover at both extremes with not much middle ground, but her soft playing was lovely. In her Ligeti, Fanfares (Etudes: Book 1, No. 4), she stylishly played sassy chords against a nonstop running line that alternated between hands. In her Chopin, the “Winter Wind” Etude, she demonstrated some sensitive phrasing, especially in the transitions. Read the rest of this entry »