2010 International Violin Competition of Indianapolis ...media.wfyi.org/pdfs/TheIndianapolisTranscript.pdf · 2010 International Violin Competition of Indianapolis ILLUSTRATED TRANSCRIPT:

2010 International Violin Competition of Indianapolis ILLUSTRATED TRANSCRIPT: 9/15/11

1

Stephanie Jeong: Winning the Indianapolis, well it is hard to even imagine … Jaime Laredo: I don’t know how much people realize that, wherever you go in the world people talk about “The Indianapolis” and they are talking about the violin competition. Narrator: The International Violin Competition of Indianapolis provides an unprecedented opportunity for violinists throughout the world. Rodney Friend; I can honestly say, hand on heart, that this is possibly the highest level of violin playing from young people that I have ever in my life seen in one place at one time.

Narrator: Major production funding for the documentary comes from a generous grant from the Allen Whitehill Clowes Charitable Foundation, Inc. Additional support was provided by Alice and Bob Schloss. Glen Kwok: The eighth quadrennial competition attracted 165 violinists from 32 countries. This was a huge and extremely competitive pool of violinists. We accepted 40 violinists who

represented 12 countries and these violinists were all invited to Indianapolis to compete for the 17 days. Glen Kwok: It is now time to introduce our 2010 International Violin Competition of Indianapolis participants. We have a parade of nations and we honor these violinists because we always want them to remember that even just getting into the competition, it is truly a big honor. Yoonshin Song: It was very proud moment, many Korean musicians and all together … it was a very special moment I think. Nikki Chooi: I've never, you know, gone out with my tuxedo except for playing and performing so it was just, it was quite special. And I think it was something I'll always remember and cherish.


2

Jiafeng Chen: When we were queuing together for the group and I just said “Oh let’s go China”. (Laughing) Haoming Xie: Exciting! First of all I was quite taken when I saw all the flags. It was very creative and it did feel like the opening march of the real Olympics. Glen Kwok: Because of the four-year nature of the violin competition, it has often affectionately been called “The Olympics” of the violin. It also has been called “The Indianapolis” for short. Glen Kwok: The goal of the competition is to search the world for the finest young talent and launch a major solo career for them. Andre Baranov: We prepare all, all our life for this, events like this. All 20 years, how you studied, what you played. Valentina Svyatlovskaya: Of course it's a lot of pressure, it's a huge amount of pressure, but believe me, they really make it nice and easy for you here. Xiaoxiao Qiang: I'm really excited to see what order I will be and get ready for that. Glen Kwok: Mary Jane is holding something that has 40 numbers in it. You want to give them a preview? It is yours to keep. So you draw your number, you get to keep it. I will ask that as you draw your number you will tell the audience your number. Ok? Again, we are starting with You Jin Jang. Glen Kwok: Violinists who enter international competitions know that it is a very grueling process. From the very start they have to prepare a very lengthy application, audition tape. Glen Kwok: A very confident 27. Glen Kwok: If you're lucky enough to get into the competition, you have to go through 4 rounds of competitions, 17 days and multiple hours of many, many different pieces covering many different periods. Glen Kwok: Marisol Lee. Number One! Congratulations! Narrator: The first competition was launched in 1982, guided by renowned violinist Josef Gingold, who was a distinguished professor at the Indiana University School of Music. Josef Gingold had served on every major competition jury to this point, which up to 1982, were all in Europe. Narrator: “The Indianapolis” became the first violin competition in the Western Hemisphere to be recognized by the World Federation of International Music Competitions. Glen Kwok: He knew the protocol, he knew how competitions were run, he knew the repertoire, he knew the juries, and he was able to help us establish very quickly everything that would be necessary to launch a first class competition. Joel Smirnoff: That's one of the things that makes this competition unique. There is a figurehead and a role model which is ever-present in our minds as jurors and I think one hopes it's conveyed to the young people who show up here.


3

Narrator: Forty violinists, ages 17 to 29 compete for some of the most coveted prizes awarded in international violin competitions. Prizes and awards are valued at over $250,000. Perhaps the most important part of the prizes is the post competition career support. For four years, “The Indianapolis” launches and manages the careers of the top 6 finalists, securing recitals and concerts with orchestras throughout the world. And for the Gold Medalist … a Carnegie Hall main stage debut and the use of a 1683 Stradivarius violin once owned by Josef Gingold.

Glen Kwok: In the preliminaries every violinist is required to play 45 minutes worth of music, solo Bach, solo Paganini, an encore work, and new for 2010 a two movement Mozart sonata. Benjamin Beilman Mozart Sonata in G major, K. 301 Stella Chen

Paganini Caprice No. 9 for solo violin, Op. 1 Jesus Reina Gomez: I always have butterflies but you know this in a way was more exciting because so many people are from so many different places and all of them have something to give and something to say so this was extra exciting. Hwi-Eun Kim Preliminary Performance Mozart Sonata in E-flat major, K. 302 Hwi-Eun Kim: Considering I was nervous and scared, it went pretty okay. Boson Mo Preliminary Performance Sibelius Nocturne, Op. 51, No. 3, arr. M. Press Boson Mo: I really, I had a lot of fun. I think that is the important part. I had a lot of fun playing today. And now I just feel hungry! (Laugh) Nadja Nevolovitsch Preliminary Performance Tchaikovsky Violin Concerto in D major, Op. 35 Nadja Nevolovitsch: The stage was actually very comfortable. I think this hall is one of the more comfortable I've played in, but still I felt a bit stressed, I must say. Joel Smirnoff: We learn a lot from hearing them play, both alone and then with piano, and how they work against the piano in terms of their own intonation. This is big stuff. And it has always been something that distinguished the “great, great” players from the less great. SoYoung Yoon Tchaikovsky Valse Sentimentale, Op. 51, No. 6 Mihaela Martin: I think it’s very important that you think in the combination from both points of view what you can play the best, and also what makes musically sense. Because I think if you are very good technician, you have your


4

virtuoso. But if you choose pieces that are too much on that side, actually that doesn't serve you; and the other way around. So I think it has to be, a lot of good thinking behind the choice of the repertoire. Nikki Chooi Preliminary Performance de Sarasate Playera Nikki Chooi: The repertoire they require for this competition is so diverse and it’s a real challenge to prepare everything for this event. And I take it upon myself as a challenge to just learn it and make everything performance ready. Josef Spacek: We prepare for this. You, you must feel you’re ready. And there’s only, you know have those 45 minutes in your first round to really show what you, basically what you put your work into. So this is what I’m here for. (Laugh) Josef Spacek Preliminary Performance Schumann Abendlied, arr. J. Joachim Clara-Jumi Kang: It's very difficult because you always want to think it's a concert but you know it's a competition, and it's very hard to find a middle in between a competition and a concert. Clara-Jumi Kang Preliminary Performance Paganini Caprices No. 7 for solo violin, Op. 1 Noah Bendix Bagley: For a competition, I pick mostly pieces that I have performed in the past at concerts in the past maybe in other competitions, just because I feel more comfortable and its good to be in your comfort zone for a competition because there are so many outside things that can get you out of that comfort zone. Noah Bendix Bagley Preliminary Performance Bach Fuga from Sonata No. 2 in A minor, B.W.V. 1003 Rodney Friend: In a competition such as this, Indianapolis competition, which sets the bar. It's not just a technical examination, it is an interpretation of their art as they know it should be. Yuzuko Horigome: We judge and that’s from so many different backgrounds. But yet we try to have one voice. We have to have sort of one direction of this competition to have a great winner. Glen Kwok: It has been a very intense and inspiring four days of remarkable music making. Yuzuko Horigome: You know all the candidates, the youngest and the most very experienced one, they were excellent in the first round. Glen Kwok: As you know we are here tonight to name the 16 semi finalists. But before doing so I would like to invite to the stage all the jury members. First Pamela Frank… Joel Smirnoff: There are nine jurors for this competition. It's a very international jury, which is important today


5

because obviously there are so many students coming from the east, from Europe, and you want to make sure that the jury represents those people and attracts them. Rodney Friend: It's totally professional and fair, if we even have a student participating in this competition or any of the other international competitions, we are not allowed to vote for our own student. Jaime Laredo: I have to tell you that this is the part of the competition that I hate. Your playing has been stunning and I can’t tell you, it’s actually been humbling and I thank you all for being here and for playing the way you did. And so, this is not in alphabetical order. Nikki Chooi. Jaime Laredo: It’s impossible to console someone who doesn’t advance. I just try and make them realize first of all, what, how much good they have done for themselves by preparing for this and by being heard by so many people. Jaime Laredo: Eric Silberger …

Danbi Um: I was really nervous when they called out names and I was about the 13th person to be called, so towards the end I was like oh God I probably didn’t make it, I should probably go home tomorrow and I was thinking what am I going to do. Jaime Laredo: Danbi Um … Jaime Laredo: One other thing which I always say to the

kids, this was a judgment, if you want to call it, of this particular jury … of these 9 people. Jaime Laredo: Clara-Jumi Kang … Jaime Laredo: It’s just what’s happened. On this occasion, on this particular day. Clara-Jumi Kang: Yes, I was nervous because in other competitions actually you don’t, you don’t get to be called in random names. It’s usually the alphabetical order or the order you played in. so this was a very new experience for me. And, and I remember I was called maybe 13th, 12 or 13th. So it was very scary seeing the numbers go to an end and your name not called. Yea Jaime Laredo: And the 16th, Haoming Xie. Haoming Xie: First of all, this competition made me feel that, it gave recognition to each and every participant who was selected to come, and this feeling was especially strong when the semi-finalists were announced. Narrator: In the semi-finals, there are 16 violinists, performing 75-minute recitals. Violinists choose their music from a lengthy repertoire list ... they must play a Beethoven sonata and … a romantic or 20th century sonata. They are also required to play a commissioned work by a contemporary composer. Antal Szalai: The most difficult time is not the performance, it’s before the performance. So before the performance I’m trying to relax and just get more and more energy in my mind and then in my body because when I enter stage I have to be the most sharp in my mind, the most energetic. And it also requires an experience, how to reach this level on stage.


6

Antal Szalai Semi Finals Performance Video Wieniawski - Polonaise Brillate in A Major, Op 21 Jiafeng Chen: When I was backstage, of course, I was a bit nervous and then at the backstage just before the door opened, I would just tell myself that, sort of lie to myself that nobody understands music in the audience. So I would just be myself and I’d be confident because people are here to support you and they’re not here to criticize anything. Jiafeng Chen Semi-Final Performance Video Beethoven Sonata No 4 in A Minor Op. 12 Noah Bendix-Bagley: I think my natural personality is a little bit reserved and the main thing I’ve had to overcome, is to open up and be able to both open up my emotions and my ideas when I’m performing, which takes a bit of vulnerability, you really have to be able to put yourself out there and take a risk, and so that’s the performing aspect of it. Noah Bendix-Bagley Semi-Final Performance Video Prokofiev Sonata No 2 in D Major 0-.94a

Josef Spacek: We're not just musicians, performers, we're also actors. Josef Spacek Semi-Final Performance Video Ysaye Sonata No.3 for solo violin, Sp. 27 Josef Spacek: Sometimes we, we would tape ourselves and just watch it. Sometimes you think you look happy. Sometimes you think you have a smile on your face, but because you're so

focused, there is no smile. So it is certainly an important part. Andrey Baranov: Can I change – or will you film me how I change?

Andrey Baranov: We'll see if jury likes. We'll see and I wanted to show something what I think inside about this music.

Andrey Baranov Semi- Final Performance Video Prokofiev - Sonata No. 1 in F minor, Op. 80

Benjamin Beilman: It's all mental practice. I mean at this point you have to have everything in your fingers and how do you trick your mind into thinking I'm ready, I'm good, I'm ready to go out there.

Benjamin Beilman Semi-Final Performance Video Hubay - Fantasie Brilliante, Op.3, No.3


7

Valentina Svyatlovskaya: Well usually it’s only, I'm glad that I'm finished and I enjoyed it so much during and I'm actually very sad that it's finished. Valentina Svyatlovskaya Semi-Final Performance Video Brahms - Sonata Noe. 2 in A Major, Op.100 Valentina Svyatlovskaya: I actually, I like how I did and am happy, happy with the result.

Soyoung Yoon: On the first round I was quite nervous, but this time I was not nervous but I was physically tired. I know mentally I wanted to really do a good job and I wanted to show people and enjoy, but mentally really tired, no physically, really tired. Soyoung Yoon Semi-Final Performance Video

Waxman Carmen Fantasy (after Bizet) Eric Silberger: It was a lot of fun. So many new things on stage is where you learn the most sometimes. You come up with new ideas you never even thought of then all the sudden you just play it and oh maybe I'll do that.

Eric Silberger – Semi-Final Performance Video Saint-Saens - Introduction and Rondo Capriccioso, Op.28 Benjamin Beilman: He’s going to jump over you… Narrator: Each of the violinists stay with a host family who is responsible for getting them to rehearsals and performances. Host Mom: How many Canadian’s are in our competition? Do you know? Nikki Chooi: Just me. Host Mom: Just you. Nikki Chooi: Just me. Host Mom: Canadian and two Hoosiers make impression. You might like to… Nikki Chooi: Oh wow! (Laugh) Oh that’s me, oh God! Host Mother: Ok let’s get a picture of you guys with Ben. Narrator: Importantly, host families make sure that their participant is comfortable and happy and in a good mindset to be able to do their best during the competition. Many families bond with their violinists and keep in close contact for decades, as violinists become the proud son or daughter to the host family.


8

Bob and Pat Anker: These are mature young people who have traveled the world, they've all been somewhere. They also need that reassurance that the comfort of somebody who can be there if things aren't going quite right. Mom and dad are not here, mom and dad are at work and it's very important to try to be that local parentice. Clara-Jumi Kang Joan Tower String Force Glen Kwok: This year we commissioned the famous American composer, Joan Tower, who wrote a piece for solo violin called String Force. And so that's a really signature item of the semi-final round. Joan Tower: Writing for a competition is a slightly different animal because you're writing for people who are competing against each other. And the people that come here and finally get to play the semi final round are usually very good players. All of that goes into the pot of how do I think about this piece, which is, I thought of it as a virtuosic challenge. I wanted to write a piece what would be challenging technically for them. Clara-Jumi Kang: When I first got it I thought it wouldn’t be that hard. So I kind of found myself being lazy. And then I started reading it and thought it’s not that easy. Rodney Friend: I don't think in this type of competition to actually compete as to who's interpretation is right or not right. I think that it's up to the performer to present a new piece in his way and actually sell it through his interpretation. Joan Tower: I hope that the players are not going to kill me (laugh) for writing such a hard piece. Clara-Jumi Kang: It’s almost midnight when the results are out. And oh, I’m already getting butterflies in my stomach because you know, I mean even the whole 40 participants were so strong. And so I couldn’t imagine them going into 16. But now it’s from 16 to 6, so 10 are out and 6 are in. Jaime Laredo: No speeches I promise, just thank you, thank you, thank you for these last four days. Ok. Andre Baranov, Soyoung Yoon, Clara-Jumi Kang, Haoming Xie, Antal Szalai, and Benjamin Beilman. Joel Smirnoff: Within the six finalists we have very, very different personalities and it's not the personality which is going, or the passion, that's not what's going to do it. It's going to be a combination of things that give this performer a multi-dimensionality. Glen Kwok: Tomorrow morning, 9 am, is the first rehearsal with the conductor, Sam Wong. Narrator: The 6 participants must balance their excitement with the realization that they have just become the 2010 Laureates of the International Violin Competition of Indianapolis and are only 2 performances away from a possible gold medal. Glen Kwok: Congratulations, get some rest because those of you tomorrow morning have a very early morning.


9

Narrator: The remaining participants who are not advancing can now talk freely with the judges. As world-renowned violinists themselves, the judges have much advice to offer these young virtuosos. Many of these young violinists will be eligible to return to The Indianapolis in another 4 years. Nelson Padgett: Having done competitions myself when I was younger, I know when you get eliminated from a competitions it's very, very easy to be hurt, disappointed. And that's natural. But then to think obviously I'm not as good as these other people. And that is not necessarily true. Rohan DeSilva: You take the good from it, you go to the jurists, get their advice on your playing and your little technical issues, whatever you may have had, take that advice and go back and then work on those things. And you know, you go to the next step. Glen Kwok: In the final round 6 violinists are chosen. They get to play with a full symphony orchestra two rounds, one is the classical round, featuring a Mozart or Haydn concerto, and in the second part of the finals they play a romantic or post romantic concerto of their choice. Andrey Baranov: I have been in Russia all my life and studying St. Petersburg till I was like, 19 or 20. I knew it for all my life, what I remember, this was clear. I didn’t know which level, but my parents did everything to put me in really high level.

Andrey Baranov Semi-Final Performance Prokofiev Sonata No. 1 in F minor, Op. 80 Andrey Baranov: It was very easy decision, because last year, tried to do quite many competitions and I started to be quite successful in some of them so and I try now the biggest one so I was very happy to try this, one of two biggest ones in the world, Indianapolis. When I go to the stage I don’t think I’m competing against other people. It’s most important for me to feel

like in concert. Antal Szalai: Some people say that the best, the best performer is who, who can see himself from a certain distance during the performance so your heart is hot and you are energetic, but in the same time you need to control all this, your emotions let’s say, which is quite difficult I think. I think it was Heifetz who said that you, your heart had to be as a matador and your brain has to be as a soldier, your brain has to be cold and your heart has to hot. And that’s a good performer. Antal Szalai Semi-Final Performance Beethoven Sonata No. 1 in D major, Op. 12 Clara-Jumi Kang: I started playing when I was 3. I liked it when the violin was like singing voice like my mom. It was the voice of my mother, like similar. So it has always become something where I can express my feelings the most. Clara-Jumi Kang: Semi-Final Performance Ravel Sonata in G major


10

Clara-Jumi Kang: When I play in front of the audience a concert, then I have like a story inside my head. Sometimes it’s a story of my personal life. Clara-Jumi Kang: Semi-Final Performance Ravel Sonata in G major Clara-Jumi Kang: If you want to be successful as a musician then you have to follow the rules of a musician, and you have to keep a certain order and you have limitations in what you are allowed to do and not allowed to do. And I think that’s what difference there are between professional musicians and non-professional musicians. Narrator: After one day of rehearsal, the Classic Finals begin at the Christel Dehann Fine Arts Center. Samuel Wong: Usually with professionals, and these are really professionals. They're playing as well as professionals, they know how to collaborate, they have no problem playing with an orchestra, as opposed to piano. So it's almost like working with a professional except they smile and they're young and they're all very so excited and a little bit nervous. So it's a great energy. Antal Szalai: I am just looking forward to play the violin concerto, which is a fabulous music. It just holds up your heart right from the beginning until the end and it's really fantastic music. Antal Szalai Classic Performance Mozart Violin Concerto No. 3 in G major, K. 216 Andrey Baranov: Always, it is very difficult for me and Mozart, the beginning, the beginning, the first I don’t know, the first 5 minutes, to breathe well and to just make music. And I think uh yea sometimes when the concert it was better for me, but no, yea, I could I could make everything musically what I wanted. But still maybe my heart was beating maybe a little bit too fast. Andrey Baranov Classic Performance Mozart Violin Concerto No. 5 in A major, K. 219 Clara-Jumi Kang: I was really nervous before I went to stage, and as soon as I got to stage I found the hall, really it had a nice atmosphere, it was all surrounded and you could see everyone and I think it was a very nice concert. Clara-Jumi Kang Classic Performance Mozart Violin Concerto No. 5 in A major, K. 219 Jaime Laredo: It tells a lot about the participant in the repertoire that they choose. And this, many times will show a person’s intelligence, and um their, quite frankly their savvy, as to how to impress an audience, how to impress you know the jury and so on. Benjamin Beilman: I sort of fell in love with the piece from listening to a recording of the last competition winner, Augustin. I think his first debut album was I think a recording of all the Haydn concerti and you know for the competition a lot of people are going to be playing the typical Mozart 3, Mozart 5, I just wanted to do something different, and I love the piece especially the second movement is so kind of intimate and beautiful. So I just wanted to


11

mix it up just a little bit. Ben Beilman Classic Performance Performance Haydn Violin Concerto No. 1 in C major

Joel Smirnoff: We want to be taken by the music the same way an actor or actress is consumed by the role. And that would be a wonderful thing to have happen in a competition. And one hopes that we'll get one of those or two or three of those. Haoming Xie: I never dreamed that I would come here for competition. I dreamed to come here to play, to perform. And um when I was here, I experienced the wonderful, wonderful amazing moment with the other performers. And

um we exchanged the different concept of the music. Haoming Xie Classic Performance Performance Mozart Violin Concerto No. 5 in A major, K. 219 Soyoung Yoon: I was, you know today, on the way, I was thinking okay I've got the 6th prize and I'm playing now gala concert. If I make a mistake I will get like number 5 or 6. And we are all winners so I am happy to play on the stage. Soyoung Yoon Classic Performance Performance Mozart Violin Concerto No. 3 in G major, K. 216 Rodney Friend: At the end of the day, all you can do is try your very hardest to play as if nothing except your art exists. Benjamin Beilman: It's not so much always about how you play in a competition, it's can your mind handle it, can you handle every emotional experience. Because even though, you know I think there are 3 rounds, 4 times that you have to play in this competition, and that may only total up to about 4 or 5 hours of music, your mind is completely in the competition for a span of I think 16 or 17 days. And it's really how do I get my mind out of it, how do I, how do I get away from the violin, how do I make sure that I'm staying, that I keep a perspective on the real world. And now that I'm here I have to forget that I'm in a competition. Benjamin Beilman Semi Final Performance Beethoven Sonata No. 10 in G major, Op. 96 Benjamin Beilman: When I walk on stage I'm a completely different person from when I'm here in the house or hanging out with my friends or playing soccer. You know when you walk on stage you are a vessel and you have to sort of prepare yourself. For me it takes about maybe 30 minutes of just preparing my mind to walk on stage and kind of go through the emotional process. Haoming Xie: I really did not have any specific goal, because this is the first time for me to compete outside of China. I just wanted to come and meet all the participants from all over the world, to hear their playing, to understand their


12

music making, interests, and thoughts, because after all there are still many differences between western and eastern cultures. But I always came to the conclusion that a performance was never perfect; as long as my music could touch the audience and that it could make people feel better, it would then make me feel better about my own playing. Haoming Xie Semi-final Performance Fauré Sonata No. 1 in A major, Op. 13 Haoming Xie: I can’t really say what and how I am different from other participants; I just think that all of them are so talented and gifted and I just feel so honored to be among this great talent. Soyoung Yoon: This is my 10th international violin competition, and until last year I was practicing, practicing, get stressed and depressed and sad, it doesn't work. Like, I was torturing myself. Soyoung Yoon Semi-Final Performance Waxman Carmen Fantasy (after Bizet) Soyoung Yoon: This competition, before I came here, like half year ago I decided ok, this is a chance to go to America. Just be there, be happy, relaxed and enjoy with other competitors. Be yourself, don't be so stressed. Soyoung Yoon Semi-Final Performance Waxman Carmen Fantasy (after Bizet) Soyoung Yoon: Now here Indianapolis competition I really, I'm very curious because I am trying myself to enjoy being here and really relaxing, I'm very curious about the result, how I will play on the stage, and this competition is a big experiment for me. Narrator: In the second part of the finals the 6 violinist will play a romantic or post romantic concerto of their choice with the Indianapolis Symphony Orchestra. Samuel Wong: Surprisingly I think they're so well prepared and so excellent … that I almost have very little to teach them. Except that to give them a little bit of reassurance to say that “you're already great.” It's like Michelangelo saying “ you know the masterpiece is already in the rock, you just have to chip away the excess.” Clara-Jumi Kang: I said to myself Beethoven is too great for me I can't do anything about that. I can’t try to be in control of Beethoven. And if I had chosen it, if I have chosen to play it in a competition then I might as well just play Beethoven like he is great and play it like it's something, not this earth music. It is something, I think, Beethoven Violin Concerto is not normal. It can touch so many people's heart. Clara-Jumi Kang Romantic Performance Beethoven Violin Concerto in D major, Op. 61 Andrey Baranov: This competition so difficult to play and not always like 100 % clean, everything all the time … some little things happen when you give so much energy in order to play your best, all the time .... bow goes


13

somewhere or your fingers go somewhere. I think it was the only thing that it was a little bit too much maybe... a little dangerous, because truly....they decide on this, but general, general was many good moments lets say. Andrey Baranov Romantic Performance Tchaikovsky Violin Concerto in D major, Op. 35

Mihaela Martin: Whenever I'm listening to someone's performance …the first thing I am listening for or I'm looking for is a sound that has a culture in it, so a beautiful sound that has a culture and that communicates. Soyoung Yoon: But I am always sad you know whenever I do competition and in the end the final and I bow and I am like want to cry so much because I remember from the first moment when I came to the place, the first

round, the second round, third round, get to know people and then you know it is really finished, you know it’s last bow on the stage. So everything mixing feelings. You know. It’s somehow very nice but somehow very sad. Soyoung Yoon Romantic Performance Sibelius Violin Concerto in D minor, Op. 47 Benjamin Beilman: I feel like today I went out there and had no reservations. I just decided, I don't care what the outcomes are I've already have received so much from the competition from people indirectly related to the competition. I'm already a winner so I don't care what happens at the awards ceremony, well I care of course but when I walked on stage I said, I'm just going to do it. I'm going to play the way I want to play. Ben Beilman Romantic Performance Sibelius Violin Concerto in D minor, Op. 47 Antal Szalai: There were yeah a couple of parts during the performance in which I felt that, this was perfect, ah some parts in the second movement for example. And of course I felt the opposite also sometimes, ah but not too much. Antal Szalai Romantic Performance Bartók Violin Concerto No. 2, Sz. 112 Haoming Xie: My original violin, which I played before, cannot match with the orchestra because the bass sound of the orchestra is so powerful and my violin sounds so light. So the audience and my host family suggested that I change to a different violin. I got the violin yesterday but today was the first time to perform on it. Haoming Xie Romantic Performance Tchaikovsky Violin Concerto in D major, Op. 35 Narrator: The jurors may not talk to each other about the participants, and do not share their scores. Even the jurors don’t know the results, until moments before the public announcement. Jaime Laredo: What is the difference between a good artist and a great artist?


14

Rodney Friend: A great artist is somebody who can show you a picture or a painting that is so fascinating and so wonderful to your ear and eye or whatever that it's pure art. Jaime Laredo: It is something that is just beyond the, the already perfection that’s there. Rodney Friend: I think it's as simple as that. I think it's not to do with the hands, it's to do with the inner expression. Glen Kwok: Jaime please join us to announce the order of the 6 finalists, he will announce them in reverse order. Jaime Laredo: So the 6th place laureate is Andrey Baranov, the 5th place laureate is Antal Szalai, the 4th place laureate is Haoming Xie, the 3rd place laureate is Benjamin Beilman, the 2nd place laureate is Soyoung Yoon. Clara-Jumi Kang: Soon as we were on the stage, it’s like, 6,5,4,3,2,1…it was already “1” and um, I was sort of telling myself over and over again, “Clara, you’re not going to get disappointed and it’s just a competition, whatever happens you will not cry.” When they announced 2nd prize and my name was still not up, I was, I didn’t know what to do. For every violinist I think it’s one of the three top competitions in the whole world and it’s just something where you think “Oh, my dream has come true.” Shawna Kloefper: It was like seeing one of our own kids on stage. Tibor Kloefper: Felt good about it, but you just never know in a situation like that. Shawna Kloefper: I was definitely holding my breath when they were making the announcements, but I had a good feeling about it. Tibor Kloefper: I just, I didn't want to wish or hope too much, but it was just a wonderful moment. Rodney Friend: Winning a competition such as this one, of course, I mean it's tremendously important if you can win or be second or be third. But to be first is something quite special. Scott Hoke: To the Josef Gingold Gold Medalist of the 2010 International Violin Competition of Indianapolis … Clara-Jumi Kang of South Korea. Rodney Friend: Having said that to win and have to this instant success, that's only the beginning; because you have got to develop and you have got to continue through an entire lifetime. Glen Kwok: It is my job to help the winners with their new careers. These careers often change overnight and they go from being a student to being a professional that is traveling from city to city, playing a different piece every week. Clara-Jumi Kang: This week I play Tchaikovsky, the next week I play Mendelsohn, the next week I play Bruch. I’m in this process where I’m realizing all the consequences that you have to deal with in order to be a concert artist. Glen Kwok: So one of our goals is to really help them with all these concerts and picking the repertoire and making sure that they are comfortable so that every concert is a successful one for them.


15

Mihaela Martin: Well the advice that I would give from my heart to any of the youngsters is to see it in the long perspective, to see it like this is a chapter in their life where they have to use the opportunity that is given to them, to present themselves in a competition which if they win makes their beginning a little easier but it's still just a beginning. Narrator: Major production funding for the documentary comes from a generous grant from the Allen Whitehill Clowes Charitable Foundation, Inc. Additional support was provided by Alice and Bob Schloss.

Documents

2010 International Violin Competition of Indianapolis ...media.wfyi.org/pdfs/TheIndianapolisTranscript.pdf · 2010 International Violin Competition of Indianapolis ILLUSTRATED TRANSCRIPT: