Day 4 of the Tertis and Aronowitz competition

Musical Highlights, Inspiring Conversations, and Exciting Results

The day started a bit later for me, and unfortunately, I missed the first candidate of the second round in the Aronowitz Competition. However, what followed was a day filled with breathtaking performances, enriching encounters, and moments of anticipation.

The second candidate I listened to was Isabella Koo from Australia, performing Brahms’ Sonata in F Major alongside pianist Charles Matthews. Her warm viola sound suited the Brahms beautifully, particularly in the second movement. Unfortunately, she experienced some memory lapses during her performance, but her determination to recover was evident in the fiery energy she poured into the final movement.

Later in the morning, I had the chance to speak with Rosa Gutiérrez, a teacher for the under-18 category. She is here to observe what the top young violists are capable of achieving. Rosa expressed interest in setting up an exchange with a teacher in the Netherlands, though I explained the challenges due to the decline of music schools in the Netherlands. While some collectives are filling the gap, opportunities for viola-focused exchanges remain limited.

The next performance was by Yino Lu from Shanghai, playing Hindemith’s Sonata Op. 25 No. 4 with pianist Jennifer Carter. This is the most modern sonata in the Aronowitz Competition, and Yino’s maturity shone through. She stood confidently on stage, delivering a moving second movement that was truly phenomenal. Jennifer Carter brought a much-needed lightness to the sonata, balancing its intense drama with grace.

After a short break, Aiden McDonald performed Rebecca Clarke’s 1919 Sonata with pianist Charles Matthews. Clarke’s sonata requires a rich palette of tone colors, and Aiden’s impeccable sense of timing brought a unique touch to his interpretation. While his tonal range could still expand, it was a joy to listen to him. If he advances to the next round, I’m eager to hear his self-composed cadenza in the Hoffmeister concerto.

Eunsuh Park followed with a stunning performance of Vieuxtemps’ 1860 Sonata, accompanied by Jennifer Carter. This incredible work quickly gained popularity after its publication and became a staple of the 20th-century repertoire. Though it’s often overshadowed today by pieces like Clarke’s Sonata, Eunsuh proved to be a brilliant ambassador for this gem. Her interpretation was flawless, truly embodying the spirit of the piece.

Shan Ga Mak from Hong Kong closed the morning session with Mendelssohn’s Sonata in C Minor, performed with pianist Charles Matthews. Shan is a multitalented young artist, excelling not only on the viola but also as a singer, oboist, and pianist. Her versatility and artistry promise a bright future in music.

During the midday break, a group of violists performed Julius Klingel’s hymn, arranged for 12 violas, in the Glasshouse foyer. The instruments, crafted by luthiers present at the event, added a special resonance to the performance.

After lunch, I enjoyed a long conversation with music historian Tully Potter, which delayed my return to the Tertis Competition until 2:30 p.m. Otoha Tabata’s performance of Brahms’ Sonata in E-flat Major (first movement) was an absolute highlight. Her approach followed the clarinet version much more closely than the standard viola adaptation, which often includes awkward octave changes. Her interpretation brought a fresh perspective and was utterly captivating.

Yanan Wang performed Hindemith’s 1939 Sonata (first movement) with pianist Anthony Hewitt. From the very first note, Yanan drew the audience into the sonata’s narrative, presenting a compelling and vivid journey through the music. Her interpretation of Knox’s Bridges of Newcastle was equally impressive, as she embraced the cadenza’s improvisatory nature and gave it a unique, personal touch.

Nicolas Garrigues brought a meticulous sensitivity to Knox, with every note and color carefully considered. His 1939 Hindemith Sonata was performed with the same level of precision and care. Nicolas is clearly a young musician who plans his career thoughtfully, peaking at the right moments. He’s a strong contender for the next round.

Paul Wiener delivered a show-stopping performance of Knox from memory, flawlessly capturing every nuance and playful gesture in the piece. His expressive stage presence and attention to detail were a joy to witness. He concluded his program with a stunning Brahms Sonata in E-flat Major (first movement), accompanied by pianist Robert Markham.

As the day wore on, I decided to skip the final three performers to give my ears some rest. Even as a listener, it becomes challenging to absorb so much music in one day. The jury, I’m sure, faces an even tougher task, especially in the Knox piece, where it’s easy to lose track of individual performances without detailed notes. The interplay with the pianists also adds another layer of complexity to their evaluations.

At 5:00 p.m., the results of the Aronowitz Competition were announced. The eight candidates advancing to the third round are:

• Rodrigo Agudelo-Celda

• Aiden Bhak

• Jaeyun Han

• Jackson Hill

• Yinuo Lu

• Eunsuh Park

• Luisa Ye

• Xunyu Zhou

As for the Tertis Competition, the organizers wish to announce their finalists first, so we’ll have to wait for that news tomorrow.

The day concluded with an unforgettable evening concert by Timothy Ridout and Hélène Clément. They performed a delightful selection of duos, including works by Alessandro Rolla, six Bach interventions, York Bowen, and Frank Bridge’s Lament. The evening ended with Moszkowski’s Suite for two violins and piano, specially arranged for two violas and piano for this occasion. Pianist James Baillieu joined them for this lively finale.

It was truly an extraordinary day, and I’m already looking forward to all the wonderful moments tomorrow will bring.