Day 1 at the Lionel Tertis and Cecil Aronowitz Viola Competitions
Sunday, January 19, 9:30 AM
Upon entering The Glasshouse this morning, I was greeted by a delightful wave of familiar faces. It felt like a grand reunion of violists from around the globe. Among them were two wonderful ladies from Edinburgh, both amateurs, who are here to participate in workshops. After a brief chat, I headed into the Northern Rock Foundation Hall to attend the first round of the Aronowitz Competition.
The opening candidate was Rodrigo Agudelo-Celda from Spain, presenting Bach’s Cello Suite No. 6 (Prelude and Gavottes). His performance showcased a gorgeous tone, enriched by the unique Testore viola previously played by Yehudi Menuhin. Rodrigo’s use of vibrato was subtle yet effective, and his Gavottes were a tapestry of intricate ornamentation and beautiful arpeggios, all while maintaining the integrity of the bassline. Particularly striking was the folk-dance element in the second Gavotte, which he brought to life with an incredible energy.
Next came the required piece, Duo-ling by Kathleen Tagg. This composition begins with an introspective melody that unfolds into a spirited folk-inspired section. Rodrigo’s interpretation was vibrant, capturing the essence of the piece with rhythmic drive and clever use of harmonics. It’s a delightful addition to the repertoire and a true celebration of the viola’s versatility.
The competition allows eight-minute breaks between performances, giving the jury time to deliberate and, if needed, take a quick break. For the audience, it’s an opportunity to admire the stunning hall—a high-ceilinged, acoustically rich space where every nuance can be heard. This makes it a performer’s paradise, though it demands exceptional control over dynamics.
The second candidate was Aiden Bhak from the UK, who performed the Andante and Allegro from Bach’s Violin Sonata No. 2. It’s an ambitious choice, opening with intricate double stops that test a performer’s nerves. Aiden, however, delivered with calm and confidence. The polyphony shone through beautifully, and his Allegro was brisk and lively, though there were minor slips toward the end. His rendition of the Tagg piece, played from memory, was equally compelling—his natural connection to the folk-inspired rhythms was evident, as his body seemed to flow with the music.
The third candidate, Jolie Isabeau Bisoendial from Rotterdam, is someone I know personally. Having heard her perform Duo-ling last week, I was eager to hear her take on Bach’s Cello Suite No. 1 (Courante and Gigue). Jolie exuded confidence, delivering a powerful and expressive performance. Her interpretation of the Tagg piece was equally enthralling, brimming with energy and finesse.
Midday Break and the Viola Orchestra
After the morning session, I attended a rehearsal by the amateur viola orchestra, conducted by the charismatic Timothy Ridout. The ensemble, consisting of violists aged 10 to 70, represents the vibrant amateur music culture in England. It was heartwarming to see such dedication and passion, with Ridout guiding the players through every detail. Highlights included a spirited rendition of Brahms’ Hungarian Dance, with Ridout leading as a “stehbratscher”—a standing violist!
Afternoon: The Tertis Competition
The afternoon took me to the Tertis Competition, held in a less striking, yet acoustically lovely hall. The stage, reminiscent of a French theater, set the scene for some extraordinary performances.
The first performer, Brian Isaacs from the USA, opened with Paganini’s Caprice No. 20, brimming with bold character and daring effects, including porticello. His Bach selections were equally captivating, demonstrating the finesse imparted by his teacher, Tabea Zimmermann, while retaining a distinct personal flair.
Next was Heshun Ji from China, who began with the Loop out of Ligeti’s sonata for viola solo. Though technically impressive, I yearned for more color variation in the piece. His Bach Chaconne was performed with astonishing technical ease, though I wished for a more adventurous interpretation.
Ami-Louise Johnsson from Sweden, studying in the UK, brought a breath of fresh air with her lyrical approach to Bach. Her playing seemed to speak directly to the audience, a rare gift that made her performance deeply moving.
Justin Julian from Australia closed the session with a bold reimagining of Bach’s Chromatic Fantasy. His arrangement, blending Kodály-like textures with Bach’s motifs, was both innovative and thought-provoking. This young musician is clearly a multifaceted artist with an exciting future.
Concluding the Day
The day ended with performances by seasoned competitors like James Kang from the US and Hiroki Kasai, a Japanese violist based in the UK. Both displayed the polish of seasoned professionals, raising the bar for artistry in this competition. The final performer, Mao Konishi from Japan, brought the day to a stunning close with a dazzling Ligeti Prestissimo and an expressive Bach performance.
Evening Concert: Timothy Ridout Captivates the Audience
At 7:00 PM, the evening concert began with Timothy Ridout as the featured soloist. From the very first note, he cast a spell over the audience, drawing such intense focus that you could hear a pin drop. Everyone sat on the edge of their seats, captivated by the sheer range of dynamics and the wealth of emotion woven into his performance.
Ridout’s program began with Bach’s Suite No. 1, a masterful display of clarity and elegance. This was followed by Caroline Shaw’s In Manus Tuas, an innovative piece that incorporates vocal elements, adding an ethereal dimension to the performance. The final work was Bach’s Partita No. 2, culminating in the monumental Ciaccona.
His interpretation of the Ciaccona was nothing short of extraordinary, blending technical brilliance with profound emotional depth. Each phrase seemed to tell its own story, creating a musical journey that left the audience in awe. It was a performance to remember—Ridout proved once again why he is regarded as one of the foremost violists of our time.!