An Increasingly High Level

On Wednesday morning, we listened to the first five participants who qualified for the second round of auditions for the 1st Karol Lipiński International Violin Competition organized by our Academy. Today’s performances confirmed that the level is very high and the group of violinists is highly selective.

Hee Jin (Jimmy) Park was the first to perform. We heard the first movement (Allegro Aperto) of Wolfgang Amadeus Mozart’s Violin Concerto in A major, K. 219, Ludwig van Beethoven’s Sonata in C minor, Op. 30 No. 2, and Eugène Ysaÿe’s Sonata in D major for solo violin, Op. 27 No. 3. In the Allegro Aperto, the consistent phrasing and the contrast in timbre were particularly striking—in the minor section, the sound became significantly darker compared to the major section. The virtuoso cadenza surprised with its originality. In the interpretation of Beethoven’s composition, the collaboration between the soloist and the pianist was particularly notable—he knew exactly when to take the lead and when to yield the voice to the piano part. In Ysaÿe’s Sonata, he possessed a confident, open tone, which gave the interpretation the impression of being meticulously thought out.

Milena Pioruńska began her performance with the first movement of Mozart’s Violin Concerto in G major, K. 216. The artist demonstrated great attention to articulation and skillfully handled dynamic changes, giving the musical narrative its flow. In Camille Saint-Saëns’s Introduction and Rondo capriccioso, Op. 28, Pioruńska performed boldly and energetically in the refrains, while remaining delicate and lyrical in the cantabile sections. The violinist then performed Karol Szymanowski’s Sonata in D minor for Violin and Piano, Op. 9. She made a particularly strong impression thanks to her fantastically executed articulation changes—clear and expressive pizzicato in the second movement and a rough, metallic sul ponticello in the third.

In Karol Szymanowski’s Sonata in D minor for Violin and Piano, Op. 9, Karolina Podorska demonstrated excellent control over tone color. One of the highlights was the conclusion of the first movement, which smoothly set the mood for the next section, creating a sense of expressive coherence. The cantabile passages of the third movement also stood out, which Podorska performed with great stoicism, without excessive exaltation. She gave an equally compelling performance in the first movement (Allegro) of Wolfgang Amadeus Mozart’s Violin Concerto in D major, K. 218. The cadenza clearly revealed the young violinist’s confidence and musicality; it seemed as though she was simply “playing” with the music. However, this was most evident in Henryk Wieniawski’s Polonaise in A major, Op. 21, which she chose to conclude her performance. Podorska’s interpretation was the quintessence of the brillant style as understood today. Particular attention was drawn to the G-sharp passages, which were performed with resonance and impeccable intonation.

Reika Sato performed Ludwig van Beethoven’s Sonata in G major, Op. 30, No. 8. She demonstrated her mastery of the musical material through her lyrical phrasing, though her playing occasionally lacked greater flair. In the cadenza of the first movement (Allegro) of Wolfgang Amadeus Mozart’s Violin Concerto in D major, K. 218, she highlighted her musicality and superb violin technique. She presented Camille Saint-Saëns’s Etude in the Form of a Waltz, Op. 52, in an arrangement by Eugène Ysaÿe, at the highest level—it featured interesting interpretive ideas and the use of varied articulation. Sato’s performance of this piece definitely captured the audience’s attention.

Steven Song was the last performer of the morning. He performed the first movement (Allegro Aperto) of Wolfgang Amadeus Mozart’s Violin Concerto in A major, K. 219, showcasing his technical prowess, particularly in the cadenza that concludes the movement. He performed Henryk Wieniawski’s Fantaisie brillante on a theme from Charles Gounod’s opera Faust, Op. 20, in a truly virtuosic manner, making a particularly strong impression with the passages at the very beginning of the piece. He concluded with Richard Strauss’s Violin Sonata in E-flat major, Op. 18, in which he impressed with his particularly warm tone and logical phrasing. A minor drawback could be considered Song’s lack of rapport with the pianist, especially given that Strauss’s Violin Sonata is, in essence, a chamber piece. Fortunately, the young artist made up for this with a thoughtful musical narrative rich in character.

After the first part of the second-round auditions, it is already clear that the Jury’s task will be even more difficult than it was a few days ago—the level of the participants is becoming increasingly even. We eagerly await the final auditions.

Natalia Białecka, Agata Dereń, Miłosz Kozak

Starring: technique, interpretation, and stage presence 

The final round of auditions for the first stage of the 1st Karol Lipiński International Violin Competition, organized by our Academy, is now behind us. Anastazja Delebarre-Debay, Paulina Zaręba, and Miłosz Kozak write about the performances.

It is clear that each participant’s performance consists of many elements—from interpretation and technical aspects to stage presence. This time, each musician stood out in a completely different way, surprising us with distinctive aspects of their performance—and we will take a closer look at some of them. During the afternoon session of Tuesday’s competition auditions, we heard several truly interesting interpretations. In the music of Johann Sebastian Bach, contrasting approaches to the question of style emerged: ranging from inspiration drawn from historically informed performance to a thoroughly Romantic interpretation. Michał Krajewski opted for the former. In his interpretation of the Adagio and Fugue from Sonata No. 1 in G minor, BWV 1001, the opening phrases made a particular impression—performed without even the slightest vibrato and, moreover, flawless in terms of intonation. While respecting the principles of Baroque performance, he clearly emphasized the dynamic levels (his full, resonant piano was particularly impressive). Most importantly, however, he maintained a logical and coherent narrative. Youngmin Lee chose to take a completely different direction; her interpretation of the Ciaccona from Partita No. 2 in D minor, BWV 1004, was thoroughly romantic in character. The artist employed, among other things, a broad vibrato, and her musical narrative was distinguished by a distinctive sense of drama.

Among the interpretations of the études-caprices from Henryk Wieniawski’s *L’école moderne*, Op. 10 (which all participants had chosen to include in their programs), Piotr Lasota drew particular attention. The violinist performed the seventh piece from the collection—*La Cadenza*. Listening to his performance, one got the impression of a flowing narrative. The artist was able to convince the listener that every note is part of a larger whole. Tsai-Wei Tina Lin also caught the audience’s attention with her presentation of the next piece from the collection—Le Chant du bivouac. From the very first bars, she delighted with her spacious sound, offering an interpretation full of contrasts and sensitivity to tone. She was able to move seamlessly between a bright, bold sound, feistiness, and liveliness, and an almost “whispered” sotto voce. In doing so, she created a rich interpretation, shimmering with colors and moods, which did not allow the listener a moment’s distraction, keeping them engaged until the very end and surprising them with new ideas.

Naturally, the reception of a particular performance is influenced not only by interpretation but also by technical execution. In this regard, Lasota clearly stood out, demonstrating highly polished passages and clear, resonant double stops in the Cianonna from Partita No. 2 in D minor, BWV 1004, and in La Cadenza. The coordination of his right and left hands also deserved high praise. Another participant who caught the attention with his technical precision was Michał Krajewski. His performance of Wieniawski’s Prelude, Op. 10 No. 6, impressed with its technical clarity and the purity of the middle section. The precision and agility of the passages were complemented by contrasting chords in the outer sections, played with a full sound. The precise execution of chords was also impressive in his performance of the Fugue from the G minor Sonata, BWV 1001—the articulation of the polyphonic voices did not disrupt the work’s underlying polyphony, allowing for a clear articulation of each voice.

Undoubtedly, stage presence is an important aspect of performance—alongside technique and interpretation. Interestingly, the stage ease of some of the performers was not only visible but also audible. Michał Krajewski’s naturalness and graceful movements, along with his visible focus, were contagious to the audience and complemented his performance. His performance was complemented by careful attention to gesture at the conclusion of each piece, leaving the impression that every possible element of the performance had been refined. Piotr Lasota exuded confidence and charisma. His open body posture during the performance of the Ciaccona corresponded with a full, string-rooted sound. The Korean representatives, in turn, impressed with their calmness and focus on the sound. Despite occasional shortcomings or mistakes, none of the participants lost their composure. By keeping their cool, they managed to showcase their strengths under the demanding conditions of the competition.

The afternoon session concluded the first round of auditions. After such a diverse array of performances, the audience has no choice but to wait for the jury’s verdict and hope that their favorites—including the participants from the final audition session—will make the list for the second round.

Anastazja Delebarre-Debay, Paulina Zaręba, and Miłosz Kozak

During Tuesday’s third round of auditions, six young participants took the stage. Their performances proved to be diverse not only in terms of program selection but also in interpretation.

Gaja Wilewska’s performance was sensational—in Johann Sebastian Bach’s Sonata No. 3 in C major, BWV 1005, the Adagio came across as very thoughtful and balanced in expression, while in the Fugue, the artist showcased the full extent of her skills and demonstrated great interpretive maturity, as well as a keen attention to the quality of the sound produced. Barbara Żołnierczyk, in Bach’s Sonata No. 2 in A minor, BWV 1003, exuded calm and grace, which translated into a perfect execution of ornamentation and harmonics. Equally delightful was her use of dynamic contrasts. The last to perform during the morning auditions was Yuichiro Haruno, who, in his performance of the First Sonata in G minor, BWV 1001, demonstrated remarkable thoughtfulness and a deep understanding of the musical material. He performed the Adagio stylistically correct, with attention to ornamentation, while in the Fugue he highlighted the dynamic and articulatory nuances of the musical material and appropriately emphasized the successive entries of the theme. He played calmly and with full concentration, and moreover—constantly demonstrating excellent mastery of the piece and knowledge of Baroque music performance.

Each participant revealed a different side of themselves during the performance of virtuoso pieces. Yuichiro Haruno was the only contestant to perform Karol Lipiński’s Caprice, Op. 29 No. 3. Haruno’s choice proved to be a wise decision—he played the piece sensationally. He met the technical demands, presenting a perfect tone without neglecting the musical aspects. 

The remaining five participants showcased their technical skills in Henryk Wieniawski’s études-caprices. Wojciech Chmielewski demonstrated noble virtuosity in La Cadenza. He executed technically complex passages with remarkable ease. Gaja Wilewska played the Prélude confidently, with a full bow and unparalleled precision. Barbara Żołnierczyk surprised the audience with the dizzying tempo of La Vélocité, yet she undoubtedly rose to the challenge she had set for herself.

In Paganini’s Caprice No. 10, Julia Grabska demonstrated precision in her trills and double stops. This performance was also characterized by sparklingly played staccato passages. Jialin Ding—the youngest contestant—demonstrated technical proficiency in Caprice No. 1, where her articulation was clear and her tone pure. In Caprice No. 7, Gaja Wilewska once again presented perfectly intoned chords while executing precise staccato.

The morning auditions turned out to be full of outstanding violinists. The diversity of performances and the wealth of ideas were surprising with every new participant who took the stage.

Natalia Białecka, Agata Dereń, Ewa Materak

Gallery of Individuality

After the intermission, four participants from the first stage of the 1st Edition of the Karol Lipiński International Competition took the stage. We had the honor of experiencing the interpretations prepared by the artists. Among the performances presented, four distinct styles emerged. The mounting tension caused by the diversity of playing styles left the audience no moment of respite, whether during the calmer or the emotionally charged performances. 

To begin with, we had the pleasure of listening to Karolina Podorska. First, the violinist presented the Grave and Fugue from Johann Sebastian Bach’s Sonata No. 2 in A minor, BWV 1003. The performance was characterized by a variety of moods and a wealth of ideas. The expressive and firmly grounded presentation of the fugue’s theme stabilized the flow of the piece, helping the listener navigate its complex texture. Next, Henryk Wieniawski’s Prelude, Op. 10 No. 6, an etude-caprice, was performed. The lyrical passages, brimming with emotion and rich tone, drew particular attention. However, during the fast passages, precision was occasionally lacking, which the artist effectively masked with her temperament and energy, thereby maintaining the tension and the audience’s attention. Finally, in Caprice No. 1, Op. 1, from Niccolò Paganini’s famous collection, we witnessed a display of bowing technique—particularly in the precise ricochets. 

Reika Sato was the second performer. She displayed incredible focus and composure, which almost magnetically drew the listener’s attention. During the performance of the Sonata No. 1 in G minor, BWV 1001—specifically in the fugue—a change in tone color was employed, which deepened the echo effect between the theme and the response. The entire piece maintained a very correct character, leaving the listener somewhat unsatisfied regarding the freedom in musical expression and narrative development. In this case, metronomic precision had a negative impact on the overall performance. Wieniawski’s Caprice No. 5 from Op. 10 Alla Saltarella lacked emotional depth, richness, and expressiveness; however, the smoothly carried phrase in the lyrical outer sections held the performance together. In contrast, in Paganini’s Caprice No. 11, Op. 1, one could hear extraordinary lightness, and the main musical content almost “flowed.”

The next participant in the auditions was Steven Song. Right from the start, his artistic individuality was evident, leading to a divided reaction from the audience regarding his performance. His expressive tone, precise articulation, and restrained stage presence gave the audience a sense of cohesion in his performance style and demonstrated his excellent command of his instrument.  His extraordinary attention to detail was downright impressive—from the clarity and fullness of tone in the lower registers, through the precision of his vibrato, to interval leaps and double stops. Forward-thinking in the narrative  manifested itself in expansive phrases and well-considered dynamic shifts. Accents placed at the onset of chord breaks very clearly structured the flow of the musical narrative, while simultaneously giving it character. The naturalness and freedom of her playing—and consequently her expression—had a highly positive effect on the reception of the performance and offset any imperfections. 

Tanaka Misaki’s performance was technically almost flawless, and she brought Monday’s auditions to a close in spectacular fashion. Throughout her performance, she seemed to be in a swaying trance. Her delicate yet precise tone created a broad and multidimensional soundscape. Her renditions of the selected pieces were characterized by almost jewel-like precision, leaving the audience spellbound. The violinist began Wieniawski’s Caprice-Etude Alla Saltarella, Op. 10 No. 5, with a decisive tone and expressive character. Among all the afternoon performances, hers stood out for its flawlessness and attention to detail. 

The afternoon session offered a variety of performances and artistic temperaments, keeping the audience’s emotions and engagement at the highest level until the very last moment. Concluding the first day of auditions with such a display of expression, virtuosity, and composure definitely sparked the listeners’ imagination and gave rise to favorites among them.  And this is only the first day…  

Katarzyna Daszkiewicz, Paulina Zaręba, Anastazja Delebarre-Debay

A Good Start

The morning session inaugurating the auditions for the 1st Karol Lipiński International Violin Competition, organized by our Academy, is now behind us. Natalia Białecka, Agata Dereń, and Miłosz Kozak write about the performers and their interpretations.

This morning we listened to the first five contestants. All demonstrated impressive technical skill while presenting a kind of artistic expression that set them apart from the other performers. The program consisted exclusively of works for solo violin—by Johann Sebastian Bach, Niccolò Paganini, and Henryk Wieniawski.

The Polish musicians felt right at home with Bach’s music. Igor Makarski, performing the Ciaccona from Partita No. 2 in D minor, BWV 1004, played with restraint, at times with firmness, yet remained incredibly evocative. He demonstrated great precision and agility in his runs, while maintaining a sense of ease in his playing. In the first section of the piece, a particularly interesting touch was the use of superb staccato, which had definitely become Makarski’s trademark in the first round. Appropriately chosen expressive techniques (articulation, phrasing, etc.) contributed to the continuity of the musical narrative. In the Grave and Fugue from the Second Sonata in A minor, BWV 1003, Milena Pioruńska gave an excellent performance. Her stylistically correct playing was enriched by a great deal of musicality and appropriately chosen expression. Pioruńska’s playing gave the impression of being organic and authentic. Inhee Park achieved an interesting synthesis of styles in her performance of the Adagio and Fugue from the First Sonata in G minor, BWV 1001, utilizing stylistic elements characteristic of the Baroque (light bowing, sparing use of vibrato, planar dynamics) and Romanticism (grounded tone, broader vibrato, greater drama, etc.).

All participants in the first round of auditions chose to include one of the études-caprices from Henryk Wieniawski’s *L’école moderne*, Op. 10, in their repertoire. However, each performer selected a different piece from the collection, highlighting a distinct aspect of violin technique. Hee Jin Park’s performance of Les Arpéges deserved special attention. The caprice chosen by the young violinist seems to be the most demanding in terms of the variety of techniques—chords, harmonics, left-hand pizzicato—among all of Wieniawski’s works included in the competition program. The artist handled the harmonics exceptionally well, playing them with resonance and clarity. Igor Makarski also delighted the audience with the quality of his harmonics in the caprice Le Staccato, in which he played every passage, even the smallest, almost perfectly. In La Cadenza, Sunjae Ok drew a resonant and noble piano sound from his instrument. Equally captivating in their sound were the clearly executed double stops he performed.

This morning also featured five different Caprices from Niccolò Paganini’s Op. 1. Igor Makarski once again delighted the audience with his flawless staccato in Caprice No. 1. The precision of the complex passages went hand in hand with beautiful phrasing. Pioruńska, as in her previous interpretations, demonstrated extraordinary musicality and dramatic musicality. Caprice No. 17, performed by Inhee Park, was characterized by a unique dualism based on the contrast between feisty passages and subtle cantilenas. In Caprice No. 24, Hee Jin Park set a rather dizzying tempo for himself, yet he rose to the challenge. The cantilena he led in the tenth variation stood out in particular, providing a much-needed breather before the final section and the frenzied Finale.

Undoubtedly, the jury now faces several difficult decisions. The morning audition session on the first day of the competition yielded many excellent performances. Each participant showcased their own musical personality and outstanding technical skill before the audience and jury. Let’s hope this trend continues through the end of the week.

Natalia Białecka, Agata Dereń, Miłosz Kozak 

Contact:
competition.lipinski@amkl.edu.pl

The Competition organizer’s social media:

https://www.facebook.com/AMKLwroc

https://www.instagram.com/akademia.muzyczna.wroclaw/

The artistic director of the Competition is dr hab. Paweł Jabłczyński, prof. AMKL

The organizational director of the Competition PhD Magdalena Ziarkowska-Kołacka