Composer: Queen
Works: Queen Elisabeth International Music Competition 1951–2001
Performers: Various artists
Recording: 12 CDs, ca. 15 hours
Label: CYPRES
The Queen Elisabeth International Music Competition, established in 1951 and named after the Belgian queen, has served as a crucible for emerging classical talent, shaping the careers of many illustrious musicians. This extensive 12-CD collection not only commemorates the competition’s legacy but also offers a fascinating glimpse into the evolution of performance standards over the years. The carefully curated tracks span five decades, showcasing both well-known masterpieces and lesser-known contemporary compositions that highlight the competition’s commitment to modern music.
The performances within this compilation vary widely in interpretation and technical execution, reflecting the changing tides of musical style and pedagogical influence. For instance, Leonid Kogan’s passionate reading of Paganini’s Violin Concerto No. 1 (CD 1) stands out for its fiery intensity and technical precision. Kogan’s cadenza is particularly noteworthy; it blends bravura with lyrical nuance, illuminating the duality of the virtuoso’s role. In contrast, Leon Fleisher’s interpretation of Brahms’ First Piano Concerto (CD 2) reveals a more introspective approach, where he navigates the work’s emotional depth with a controlled, yet expressive touch that is both commanding and sensitive.
Noteworthy is the inclusion of contemporary test pieces, such as Jean-Marie Simonis’ Cantilène (CD 9), performed with lyrical grace by Nai Yuan Hu. The piece, which may not have received much attention outside the competition, is a testament to the competition’s dedication to promoting Belgian composers. This focus on national repertoire not only enriches the program but also provides a broader cultural context, allowing listeners to appreciate the interplay between tradition and innovation.
Recording quality throughout the box set is generally commendable, although some older recordings exhibit the sonic limitations of their time. The remastering efforts have succeeded in enhancing clarity and balance, making the performances accessible to modern audiences. Nonetheless, the listener may occasionally detect the remnants of age, particularly in the recordings from the early years of the competition. It is a minor compromise for the opportunity to hear historical performances that contributed to the development of many celebrated careers.
Comparatively, while this collection offers a robust survey, it would benefit from additional representation of some of the competition’s most renowned winners who are not featured prominently, such as the distinguished pianists Nikolai Petrov and the late Yefim Bronfman. Their absence is felt, particularly in a retrospective that aims to encapsulate the breadth of talent fostered by the Queen Elisabeth Competition.
Overall, this 12-CD set serves as both a historical document and a celebration of the enduring legacy of the Queen Elisabeth International Music Competition. It encapsulates the spirit of competition, showcasing a rich tapestry of performances that reflect the dedication and artistry of its participants. For those who appreciate the evolution of classical performance and the stories behind the music, this collection is an invaluable addition to any discerning listener’s library.
