Classical guitar aficionados and readers of discerning Guitar Magazines have been abuzz following the recent Maurizio Biasini International Guitar Competition. Held at the San Francisco Conservatory of Music from January 14-17, the prestigious event saw Ukrainian guitarist Marko Topchii emerge victorious from a pool of exceptionally talented musicians. The Caroline H. Hume Concert Hall was filled nearly to capacity as attendees and judges alike witnessed a display of virtuosic skill and artistry. Topchii’s win comes as little surprise to those familiar with the international classical guitar competition circuit, where he has consistently achieved top honors. His performance in the final round clearly demonstrated why he is considered a rising star in the world of classical guitar.
The final round presented a formidable challenge to the three remaining competitors: Topchii, Andrew Blanch of Australia, and Clement Charpentier of France. Each was tasked with performing Joaquín Rodrigo’s iconic Concierto de Aranjuez, accompanied by an orchestra comprised of San Francisco Conservatory of Music alumni and led by conductor Nicole Paiement. In addition to the concerto, the finalists were required to perform “Imbricatta (in ten asymmetrical layers),” a brand-new and technically demanding solo piece composed by SFCM faculty member Sergio Assad. Finally, each guitarist selected a piece of their own choosing to further showcase their individual musicality and style. Blanch opted for Manuel del Falla’s evocative “The Miller’s Dance,” a choice that served as a fitting prelude to the Spanish flavor of the Aranjuez. Charpentier’s selection, Rodrigo’s own “En Los Trigales,” offered a fascinating glimpse into the musical origins of the concerto. Topchii, demonstrating his breadth and adventurous spirit, chose “The Hunt on Fowl’s Legs (Baba Yaga)” from Modest Mussorgsky’s Pictures at an Exhibition, a piece known for its dramatic intensity and technical demands.
Marko Topchii performing at a classical guitar competition, showcasing his expertise and passion, a feature often highlighted in guitar magazines.
For those in attendance familiar with the Concierto de Aranjuez, including this reviewer, the performances offered a valuable point of comparison. All three finalists demonstrated impressive technical proficiency in the concerto. However, in this observer’s opinion, Topchii’s interpretation stood out for its palpable passion, particularly during the emotionally charged cadenzas of the celebrated second movement, “Adagio.” While not without minor imperfections – a rushed passage in the opening “Allegro con spirito” was noticeable – Topchii’s performance possessed a compelling blend of power and fluidity that elevated his rendition above those of his fellow finalists. While Blanch and Charpentier may have achieved a higher degree of note-perfect accuracy, Topchii succeeded in making the piece his own, imbuing it with a personal and captivating expressiveness. Furthermore, Topchii’s commanding stage presence, a quality that undoubtedly resonates with audiences and perhaps even competition judges, was evident throughout his performance. Though a moment of intense introspection – burying his face in his left hand during an orchestral interlude in the “Adagio” – seemed slightly theatrical, it underscored the depth of his engagement with the music. His rendition of Assad’s “Imbricatta” was perceived as somewhat less polished, though direct comparison was limited during the live performance. (Charpentier’s performance of the Assad piece was particularly well-received).
Credit must also be given to Nicole Paiement and the alumni orchestra. Their interpretation of the Rodrigo concerto was exemplary, achieving a balance and dynamic range that perfectly complemented the individual styles of the three guitarists. The orchestra provided a nuanced and supportive backdrop, allowing each soloist to effectively showcase their artistry.
For those interested in experiencing the final round firsthand, the entire performance, including the intermission, was streamed live and is archived online here. It is worth noting that the amplified guitar sound in the Aranjuez performances, as captured in the stream, may not fully replicate the natural acoustic experience of being present in the concert hall. However, the recording offers a valuable opportunity to witness the performances and appreciate the artistry of these exceptional young guitarists for yourself, as you might read about in your favorite guitar magazine. Marko Topchii’s victory at the Maurizio Biasini International Guitar Competition solidifies his position as a significant voice in the contemporary classical guitar world, and his future performances are eagerly anticipated by enthusiasts and guitar magazine readers alike.
