Day 3 of the Tertis and Aronowitz competition
Bridges of Passion
Romantic Sonatas and Garth Knox’s Masterpiece
Today’s focus was on Romantic sonatas from the 19th and early 20th centuries, alongside the required piece, Bridges of Newcastle by Garth Knox. Each participant demonstrated their artistry through challenging repertoire, revealing both their technical prowess and interpretive depth. Here’s a detailed look at the performances of the day.
Morning: Aronowitz Participants
The morning session featured full performances of Romantic sonatas, providing a rare opportunity to experience these works in their entirety.
Rodrigo Agudelo-Celda and pianist Charles Matthews began with York Bowen’s Sonata No. 1 in C Minor.
Rodrigo’s tone was luminous, and his approach to repeated sections brought fresh perspectives. Occasionally, the transition between soft and louder dynamics felt abrupt, but his artistry remained compelling. The chromatic passages in the second movement and the dramatic ending of the third showcased his skill and musicality.
Aiden Bhak impressed with Bowen’s Sonata No. 2 in F Major, accompanied by Jennifer Carter.
This brighter, more technically demanding sonata fits well with Tertis’s virtuosic style. Aiden performed with exceptional control and maturity, balancing technical challenges with expressive depth. The second movement, with its muted passages and shifting harmonies, was particularly moving, and the playful, Kreisler-like finale sparkled with joy. Aiden’s command of the material suggests he is a strong contender for the top prize.
Jolie Bisoendal closed the morning session with Rebecca Clarke’s Sonata.
Jolie’s performance was both bold and sensitive, capturing the impressionistic colors of the work. A sudden string issue during the opening did not faze her; she quickly regained her focus and delivered an even more impassioned interpretation. The Chinese-inspired second movement was beautifully rendered, and the third movement, with its emotional depth and echoes of earlier themes, brought the performance to a stirring conclusion.
Afternoon: Tertis Participants
The afternoon began with Brian Isaacs performing Bowen’s Sonata No. 1 in C Minor (first movement).
This performance was a sensory feast—like savoring a five-star meal. His seamless collaboration with pianist Sofia Rahman elevated the sonata, immersing the audience in its lush harmonies.
The required work, Knox’s Bridges of Newcastle, followed, providing a fascinating modern contrast to the Romantic sonatas. Brian’s interpretation captured the piece’s flowing, river-like structure, revealing its complexities and connections between its seven sections.
Heshun Ji delivered an intriguing juxtaposition with Hindemith’s Sonata (1939).
This sonata, the most modern of the Romantic works, demands both precision and creative freedom. Heshun’s approach was confident, though at times more dynamic variety could have deepened the contrasts.
Ami-Louise Jonsson enchanted with Schubert’s Arpeggione Sonata.
While technically less demanding, this piece requires sensitivity and nuance, both of which Ami-Louise brought in abundance. Her lyrical phrasing evoked a serene journey under bridges rather than over them—a refreshing interpretation.
The day continued with strong performances of both the Romantic sonatas and Knox’s Bridges.
Justin Julian’s Hindemith sonata, which captured its haunting cynicism, though his interpretation of Knox’s piece lacked some of the intimacy displayed by other players.
James Kang, who brought theatrical flair to Knox’s work by audibly whistling its opening, a bold move that added a unique touch.
Hiroki Kasai, whose broad tonal palette shone in his performance of both Knox and Schubert’s Arpeggione. His pianissimo ponticello passages were mesmerizing.
Jack Kessler, who offered a thoughtful but less fluid interpretation of Knox’s work, followed by Bliss’s sonata, which revealed flashes of brilliance despite some balance challenges with the piano.
Sumin Kim and Mao Konishi gave standout performances of Bridges of Newcastle, bringing individual flair to their interpretations. Sumin’s nuanced dynamics and Mao’s compelling narrative structure demonstrated the flexibility of Knox’s composition.
Yizilin Liang ended the day on a high note with a refined performance of Hindemith’s sonata. Her bow control and ability to sustain long notes with clarity and warmth were exceptional.
Reflections
The level of artistry displayed today was truly remarkable. While it’s difficult to single out a clear favorite among so many excellent performances, those who took risks—whether through bold interpretative choices or unique approaches to Knox’s challenging work—left a lasting impression.
The Romantic sonatas served as a vivid reminder of the viola’s lyrical and dramatic potential, while Bridges of Newcastle established itself as a modern masterpiece that will undoubtedly become a staple of the viola repertoire.
Bravo to all the performers for their passion and dedication!