As we’ve come to know, it’s a lengthy established necessary situation of the Queen Elisabeth Competitors for all 12 finalists to spend the previous 7 days to their Remaining Spherical look throughout the closed confines of the Chapelle Musicale Reine Elisabeth conservatory – so to focus bodily and mentally and examine the beforehand unpublished set work with out exterior affect.
1997 third prize winner, violin virtuoso Kristóf Baráti, visitor blogs about his expertise contained in the notorious Chapelle Musicale Reine Elisabeth:
“O my! The 1997 Queen Elisabeth Competitors looks as if such one other world away for me now.
It was a surreal expertise, and positively a extremely intense option to rejoice my 18th birthday.
My host household through the earlier rounds had been so good, supportive and accommodating to me, so earlier than coming into the Chapelle I keep in mind feeling apprehensive. In my 17-year-old creativeness, I believe I used to be considering I used to be about to be locked up in Alcatraz.
Upon arriving on the Chapelle, I keep in mind being given the fitting to 1 ‘final name’ earlier than they took away my large ‘brick’ cellphone, with double sized batteries, and handed me the rating to “Raptus” by Hendrik Hofmeyr.
I used to be unhappy to see my lifeline gone – as I swear I solely would have used it to name my girlfriend.
Fortunately for us, 1997 was the very starting of the web period, so no actual on-line detox was required. (Fairly unbelievable to suppose?)
As I entered the Chapelle as one of many final candidates the place was full once I arrived. I keep in mind the constructing as being a little bit ‘retro’ though very clear and really organised – with probably the most promising piece of furnishings for sustaining sanity: the effectively worn ping-pong desk.
I clearly spent a variety of my time through the week alone studying the brand new work, however I additionally keep in mind an awesome feeling of collegiality – with a lot of us coming collectively at numerous occasions to check and alternate fingering options.
The 1997 new work was actually sophisticated and included some typical requests, equivalent to tuning the E string down at one level, however by finish, I consider all of us got here to get pleasure from it.
Congratulations to my pal Andrew Haveron, now Concertmaster of the Sydney Symphony, who was awarded the ‘Finest Efficiency’ prize of the work – and naturally Nikolaj Znaider, who took the 1997 grand prize.
The saddest a part of the Chapelle expertise, I recall was truly because the finals started and seeing my new associates diminish from our dwelling day-to-day.
The Queen Elisabeth competitors, with its large repertoire necessities and the sheer bodily and psychological depth of it, is certainly a novel and gigantic mountain to climb – however wow, what improbable life recollections!
KRISTOF BARATI | BEETHOVEN VIOLIN CONCERTO | MARC SOUSTROT & ROYAL PHILHARMONIC ORCHESTRA OF FLANDERS | 1997 QUEEN ELISABETH INTERNATIONAL VIOLIN COMPETITION | 3RD PRIZE | 18-YEARS-OLD