The Final Stage has begun.  This will be the last performance for the 6 contestants.  I would like them to regret nothing and enjoy playing to their heart ‘s content, or probably it’s them who realize it the most.  All we can do is to watch over them quietly.  On the first day, I savored the performance of three finalists.
The first performer was Francois Dumont (France: age 24). He had been the first performer since the 2nd Stage and such a significant role under pressure will be over today.  He rendered Beethoven’s Piano Concerto No.5 in E flat major Op.73 "Emperor" which 3 finalists had chosen.  His performance gave me an impression that he tried to stick with the score based on his deep understanding of the Classical period music.  This was originally written for a chamber music. In terms of the fact, a rather smaller size of orchestra might have worked better, which Mr. Dumont seemed to take into consideration in his performance appropriately.  Each one of the tones was well harmonized to demonstrate a classy “Emperor”.  It was a good performance as him trying to see this piece from the same viewpoint as Beethoven.   
 Ann Soo-Jung (South Korea: age 22) was the second performer.  The orange dress tailored for the honored Final Stage was very good on her.  She rendered Rakhmaninov’s Piano Concerto No.2 in c minor Op.18. It was also chosen by 2 finalists and Ms. Soo-Jung was one of them.  This piece begins with piano and at the very beginning I could sense a sort of her resolve that it was her who rang the bell.  Such opening made me expect much of the rest of her performance.  Not surprisingly, the sound of her piano asserted a grounded presence, which is often liable to be drowned in orchestra.  The 2nd movement, followed by the dramatic 1st movement, showed the true worth of her excelling at Romantic music, which kept the audience spellbound.

  
16　 Francois Dumont (France: age 24)
 　I have played a number of Beethoven’s pieces, but as for the No.5, I devoted myself to express warmth of sounds in some way and focused on how my performance could be more expressive since it’s impossible to strike reasonably bigger notes than orchestra does.  I played it as considering the composer’s intention.  I was satisfied with the orchestra and the maestro was wonderful.  He was listening attentively to my performance.  
We need a variety of repertoires for a competition.  One is not an artist if he/she performs the same piece over and over.  The artist should love all kinds of music.  

 
04　 Ann Soo-Jung (South Korea: age 22)
 　I had a rehearsal twice.  The second rehearsal was better than the first one, and the final stage was even the best among them.  To get prepared for the Final, I checked at the rehearsal how my performance echoed in the main hall.  Also, I tried to pay attention to the sound of orchestra during my performance.  Hamamatsu International Piano Competition is one of the most prestigious competitions and it’s also significant for me. 
 
　The last performer of the day was Cho Seong-Jin (South Korea: age 15).  As Professor Hiroko Nakamura, Chairperson of the Jury, told reporters after the announcement of the 3rd Stage result, his victory would make him the youngest winner ever since Alexander Gavrylyuk at the age of 16 in 2000, who was the winner of this competition.  It was maybe because of a sign of rising expectation among the audience that there seems to be a bigger round of applause for him.
　This was the second time of Beethoven’s “Emperor” performed on the same day.  From the very beginning, his unforced sound enhanced the piano to echo.  Sparkling tones reached to the back of the hall without being drowned in the orchestra.  I know it’s such an ordinary comment, but I dare say that he doesn’t look like a15 years old with his stability and poetic turn of mind.  I was overwhelmed by his technique and power of expression which enthralled the audience at highlights.  He brought modern and romantic expressivity to Beethoven’s piece.
 The open press conference was held at the lobby of the main hall immediately after the stage in the presence of Professor Hiroko Nakamura, Chairperson of the Jury, Professor Xu Zhong, who joined the Jury of Hamamatsu International Piano Competition for the first time, ProfessorDominique Merlet,  Professor KIM Dae-Jin, and Professor Akira Wakabayashi.  Professor Xu Zhong was asked how he felt to be seated at the jury table, comparing to the time when he won 3rd prize at the first Hamamatsu Competition.  He said “It was more comfortable and less tension this time. Hamamatsu is a special place to me since my career began with this competition.”  Professor Dominique Merlet made remarks on the competition sprinkled with a comment on the Master Class held yesterday and the day before yesterday, saying  “The contestants have high level of skills.  We are seated so far away from the stage but I can feel their hearts so close to us, which I felt even stronger during the Master Class.  I have been spending a truly productive time.”  In response to a comment by Professor Nakamura about rising Hanryu boom, or Korean boom, in piano following the boom in Korean dramas, Professor KIM Dae-Jin spoke about his expectation for the future beyond the result of current competition.  He said “At this competition, not only Koreans but also young Asian pianists have delivered outstanding performance.  I hope they will become a good pianist besides being a good contestant.”  In addition,  Professor Akira Wakabayashi, who joined the jury of an international competition for the first time, said  “It’s significant to see different approaches around the world from various viewpoints.  It’s also an honor to be in the jury together with other wonderful professors.”

 
10　 Cho Seong-Jin (Korea: age 15)
 　Now I am becoming relaxed. Since I prefer German pieces to Russian, I chose “Emperor”.  I have performed with orchestra about 10 times before and this was the third time to render “Emperor”.  I had an image of a dignified emperor in my mind through my performance. Daniel Barenboim’s piano rendition is the closest to my ideal “Emperor” among the pianists that I have ever heard.  I like all his interpretations on Beethoven’s pieces, but what I like the most is his not too formal interpretation.