The rising star of Anna Avramidou playing her final concert with the Purcell School Symphony orchestra before moving on to the Royal Academy of Music where she will continue her training with Tessa Nicholson.
Already a seasoned performer who I heard last month in Cadogan Hall playing Beethoven’s Choral Fantasy with her fellow Cypriot Marios Papadopoulos and his Oxford Philharmonic Orchestra.
No ordinary performance for an eighteen year old with this genial preparation for the Ninth Symphony, playing by heart because the music is so ingrained within her youthful being. As she demonstrated once again last night in Milton Court with a performance of the Tchaikovsky B flat minor concerto that was played with an authority that belied her anagraphical age. She imbued the music with beauty and radiance as well as technical mastery and aristocratic good taste.
Bach Toccata in G BWV 916 Brahms Klavierstücke op. 119, Beethoven Sonata op 101, Godowsky Java Suite part 1
Kasparas Mikužis in Hampstead Garden Suburb for St Jude’s annual cultural feast. Kasparas may be far from home but his Lithuanian heritage ignited the magnificent Steinway D with sounds of glowing crystalline beauty that reminded me of the sound of Géza Anda whose last concert I had heard fifty years ago in nearby Mill Hill School. It is a fluidity of sound created by relaxed natural movements allied of course to well trained fingers . Nowhere is Agosti’s dictum more evident than with the many Lithuanian pianists who are emerging from our Academies. ‘ Fingers of steel but wrists of rubber ‘ which of course was directly passed down from Agosti’s mentor, Busoni who in turn was descended from Liszt.
Kasparas even paid homage to a fellow Lithuanian Leopold Godowsky, whose first book of his Java suite closed this midday concert . It was Rubinstein who famously said that even if he practised for five hundred years he would never be able to play as Godowsky. After leaving Godowsky’s home one night, Josef Hofmann told Abram Chasins: ‘ Never forget what you heard tonight; never lose the memory of that sound. There is nothing like it in the world.’
It is a sound that Kasparas used to illuminate the ‘Gamelan’ with the magic atmosphere that he created from masterly use of the pedals and of his horizontal stroking of the keys . The ‘shadows and reflections’ of Godowsky’s puppet show was where Kasparas could produce mellifluous sounds of French nasal refinement. The final piece in this selection from the Java Suite was ‘a great day’ indeed with not only a refined palette of sounds but a transcendental outpouring requiring a mastery that is of very few.
Kasparas chose to open the recital with Bach’s last of his seven early Toccatas not the first as advertised. Playing with a crystalline clarity and giving a refined shape to the streams of notes that conversed as they chased each other with an invigorating ‘joie de vivre ‘. An Adagio of radiance of glowing timeless beauty reaching out to the Toccata that burst onto the scene with a fugato of voices that entered one by one building into a joyous outpouring of hypnotic rhythmic energy. A sound that was never hard but where each voice flowed with its own lightweight volition joining forces and creating a knotty twine of extraordinary luminosity and clarity.
Brahms’s four pieces op 119 were the last of his works for piano and are ‘lullabies of grief’ but also of exhilaration and nostalgia. In Kasparas’s hands they became a kaleidoscope of conflicting emotions with an extraordinary palette of sounds of chameleonic colours. From the first with a glowing fibral frailty of reticent beauty as the second carves waves of capricious sounds of bewilderment, turning into passing passionately constructed clouds that dissolve with disarming simplicity and profound intimacy. The playful third was with beguiling freedom and fancy free washes of jeu perlé embellishments . The last played with imperious authority and sumptuous Philadelphian sounds dissolving into a wondrous chorale with notes dropping from above with jewel like constancy. The central episode was of music box simplicity before the final extraordinary triumphant ending that Kasparas played with aristocratic control.
The main work on the programme was Beethoven’s Sonata op 101. Kasparas revealed it as Beethoven’s true pastoral sonata with an opening movement of ethereal fantasy played with a glowing whispered fluidity. The March was played with dynamic drive but never of hardness but always of a wonderful clarity and sense of architectural line. A poignant quasi religious intensity to the Adagio was contrasted with the bubbling vivacity of the Allegro . The transcendental difficulties dispatched with pastoral freshness and scintillating brilliance .
Anne Kollar,Chair of Music Planning comments : “What a lovely story about your neighbour in the audience. I heard nothing but raves about the performance, and I’m sure we’ll be keeping an eye on Kasparas . His playing is outstanding, and his friendly and articulate rapport with the audience is a real jewel .She had heard about the ballet dancer in the wheelchair who ‘had never heard anything like it’ – and who was completely bowled over by his playing. She absolutely adored coming backstage afterwards …Yvonne Baker,Music Planning CommitteeMichael White the distinguished critic see belowAnne Kollar,Chair of Music Planning Sarah Biggs with Tamsyn Hamilton after concert celebrations in nearby Kenwood
Kasparas Mikužis is a Lithuanian-born pianist based in London. Named as one of Classic FM’s ‘Rising Stars’ for 2025, he has taken the stages of various highly respected venues such as the Concertgebouw in Amsterdam and the Lithuanian National Philharmonic. In May 2025, Kasparas was one of the winners of the Young Classical Artists Trust (YCAT) international auditions.
Highlights include recitals at the Bridgewater Hall in Manchester, UK, the Krzysztof Penderecki Centre in Lusławice, Poland and his debut at Wigmore Hall in London. Kasparas has also performed at the United Nations Headquarters in Geneva on multiple occasions. Other notable appearances include performances at the season-opening concert of the Kharkiv Philharmonic Hall with the Kharkiv Philharmonic Symphony Orchestra under conductor Yuri Yanko. He also performed as a solo artist at the Eudon Choi show during London Fashion Week 2023.
In 2023, he made his debut with the Lithuanian National Symphony Orchestra at the Lithuanian Philharmonic in Vilnius. Later that year, he was invited to perform for the Lithuanian and Polish presidents on Lithuanian Statehood Day at the Presidential Palace. In recognition of his representation of Lithuania on the international stage, Kasparas was honoured with a letter of gratitude from the President of the Republic of Lithuania.
The 25/26 season sees Kasparas perform Gershwin’s Concerto in F with the Basingstoke Symphony Orchestra, as well as working on a new CD with the Royal Academy of Music. He will collaborate with fellow YCAT artist Nathan Amaral for a series of concerts in early 2026, as well as performing solo recitals across the UK and at the Norsjø Chamber Music Festival in Norway.
Kasparas completed his undergraduate studies at the Royal Academy of Music with Diana Ketler, and his postgraduate studies under Professor Christopher Elton. Since 2023, he has also worked closely with Gabriela Montero through OAcademy.
Yuanfan Yang the Scottish kapellmeister. I have known Yuanfan for quite some years since he became a Keyboard Trust Artist and I accompanied him to various venues around Italy. It had always amused me that his biography referred to him as Yuanfan Yang ,the Scottish pianist. But he was born in Edinburgh where his mother and father met on a cultural exchange organised by Margaret Thatcher. Both his parents were top runners at Beijing University and having started a family in Edinburgh they decided to stay. Yuanfan’s father has become a distinguished lecturer at Leeds University and his mother an expert in communications.
It was at a children’s party that one of the mothers asked Yuanfan’s who his piano teacher was, as she had admired his playing on their friend’s piano. ‘But he does not play the piano and we do not even have one at home!’. A God given talent of being able to conjure sounds out of thin air as he showed us today with his improvisations.
Yuanfan was then taken under the wing of Murray McLachlan at Chethams and went on to the Royal Academy in London to study with Christopher Elton. I remember telling the jury of the Rome International Piano Competition of his remarkable talent for improvisation. After his prize winning performance of Beethoven’s 3rd Piano Concerto the chairman asked him to improvise on Mozart’s ‘ La ci darem la mano ‘ which he did to the astonishment of all.
Yuanfan is a complete musician and magnificent pianist, as his performances today showed us, from masterly performances of Brahms, Rachmaninov and Chopin, to a souped up improvisation of the Mendelssohn Violin Concerto! Yuanfan delights in communicating where his love for music shines through all genres.
The three Intermezzi op 117 although he had not committed them to memory yet they were well and truly embedded in his soul as he opened with very sensitive, aristocratic playing of refined beauty and weight. A disarming simplicity to the first in E flat with it’s beautifully whispered question and answer of the ‘più Adagio’ played with a radiance and scrupulous attention to the composers markings for this the first of his ‘lullabies of grief’. The second in B flat minor was beautifully shaped as Yuanfan allowed it to flow with insinuating beauty. To see the beauty of the way Brahms had written the music on the page, like a painting of waves, was to appreciate the beautiful natural movements of Yuanfan’s arms, like swimming on waves of sound. The deeply sonorous chorale of the ‘più Adagio’ was of orchestral richness with comments like drops of water from on high.The final deep B flat in the bass was breathtaking for its sublimely poignant richness. He brought a beautiful legato to the notes in unison of the C sharp minor Intermezzo playing with whispered horizontal movements. The ‘più moto ed espressivo’ central episode was played with a crystalline clarity, as wisps of sound floated in this magical atmosphere of etherial beauty. Brahms searching for a way back with a quasi improvised path of extraordinary originality.
The Rachmaninov Corelli Variations were given a masterly performance where the extraordinary technical difficulties just disappeared in a performance that was concerned only with poetic beauty. Rachmaninov dedicated the work to his friend the violinist Fritz Kreisler . He wrote to another friend, the composer Nikolai Medtner, on 21 December 1931:
I’ve played the Variations about fifteen times, but of these fifteen performances only one was good. The others were sloppy. I can’t play my own compositions! And it’s so boring! Not once have I played these all in continuity. I was guided by the coughing of the audience. Whenever the coughing would increase, I would skip the next variation. Whenever there was no coughing, I would play them in proper order. In one concert, I don’t remember where – some small town – the coughing was so violent that I played only ten variations (out of 20). My best record was set in New York, where I played 18 variations. However, I hope that you will play all of them, and won’t “cough”.
Rachmaninoff recorded many of his own works, but this piece was never one of them.Yuanfan played them all today, as there was not a cough to be heard in Perivale, with an audience spellbound by the authority and mastery of our Scottish Kapellmeister. A beautifully slow Andante for the theme of ‘La Folia’ as it gradually came to life with undulating sounds in the first variation. The playful second, Yuanfan brought a meandering beauty to the legato inner part with the capricious staccato outer parts. A ‘Tempo di Menuetto’ of questioning and imposing comments leading to the radiant beauty of the theme with wisps of sound floating in the rarified air. A very decisive fifth played with dynamic drive and masterly control led to the intricate chattering of continual lightweight chords. A mighty bass ‘D’ was the anchor on which an outpouring of notes was spread over the entire keyboard.Yuanfan always playing with sumptuous sounds of Philadelphian richness as his use of the pedal and his velvet horizontal touch created waves of sumptuous beauty. A meandering whispered ‘Adagio misterioso’ was followed by the luxuriant bass chords out of which grew waves of sounds of haunting beauty. A typical whimsical Rachmaninov cluster of notes were thrown off with masterly ease as the next three variations erupted into strident no nonsense character of imposing dynamism. A beautiful improvised cadenza brought a change of key from D minor to D flat major that was like the sun suddenly coming from behind a cloud to fill the atmosphere with radiance and beauty. ‘La Folia’ now in D flat major where Rachmaninov allowed it to stay with seductive insinuation for the next variation. A build up to the notorious octaves of the twentieth and last variation that Yuanfan played with fearless mastery and passionate intensity.
Arriving at the final octave bass D that he played with two hands, his nose almost touching the keys, such was the burning intensity of his playing. A melodic line is heard floating on this sound of vibrating ‘D’ that Yanfan played like a poet born, with heart rending beauty and disarming simplicity. The long silence after he played the final two chords was proof enough that he had reached the hearts and souls of this very discerning Perivale public. Not a cough was heard throughout a performance that held us spellbound for its mastery and poetic intensity.
I had heard Yuanfan play two complete late night recitals of Chopin at Chethams International Piano School last summer as preparation for Warsaw. This was playing of aristocratic mastery and poetic beauty. A musician who could see the architectural shape of these masterworks but at the same could imbue the notes with such ravishing beauty. It was the same playing I heard today as Yuanfan began the Second Scherzo op 31. I remember Artur Rubinstein playing it at the end of his last recital at the Wigmore Hall in 1976. A partially blind master had agreed to play just one last time in order to stop the hall from being demolished. The Wigmore since that day has gone from strength to strength and is now the major chamber concert hall in London, much loved by the greatest artists. Rubinstein had to stop because he could not see out of the corner of his eyes to play the treacherous leaps that abound at the end of this scherzo. It was certainly no joke but a noble gesture from a great and generous artist . He made a speech asking the audience not to allow the builders to take over and invited the audience backstage .At a certain point Rubinstein exclaimed that he may be blind but not too blind to know a beautiful lady when she is standing by his side. It was Lauren Bacall the wife of Humphrey Bogard! Yuanfan is sixty years younger than Rubinstein and negotiated the leaps with youthful mastery. He also played with a wonderful sense of balance that could allow Chopin’s bel canto melody to float so beautifully of waves of undulating sounds. Cascades of notes were played with jeu perlé brilliance which contrasted with the intensity of the central ‘sostenuto’ of poignant beauty. It was interesting before the return of the main theme that the three final notes were played non legato and the final time legato that I had not been aware of until today. The long held ‘F’ on this last appearance gave an ominous presence to this final utterance.
Now came the second part of this recital where the audience were made to participate. Improvisations on themes received from audience members and in styles decided by them.
The last movement of Beethoven’s 7th Symphony was played in the style of a Tchaikowsky Ballet.
Dr Mather kindly reminding Yuanfan of his Beethoven! The theme of the Mendelssohn violin concerto played in punk rock style and finally Erik Satie in the form of a Fugue.
Dr Mather anxious to fix another date with this genial young artist before he leaves the church today for fear that the world might gobble him up and his diary would be full .
Born in Edinburgh and now based in Leeds, Yuanfan Yang is rapidly establishing himself as one of the most distinctive pianists, composers, and improvisers of his generation. Praised for interpretations of Schumann and Liszt that “rivalled those of the young Ashkenazy” (International Piano Magazine), he is equally recognised for his own compositions, described by The Observer as possessing “soulful poignancy.”
Yuanfan’s repertoire reflects a wide range of musical stylistic interests, which also influence his signature improvisations and original compositions. He has written four full-scale piano concertos performed across China, France, Russia, and the UK. Recent highlights include concerto appearances with the Royal Liverpool Philharmonic Orchestra, BBC Philharmonic (recorded for BBC Radio 3), Armenian State Symphony Orchestra, and the Orchestra of Opera North, where he performed the northern England premiere of his Piano Concerto No. 4, Ode to the Jing River . He has also appeared at major venues including the Sydney Opera House, Brighton Festival, St George’s Bristol, and Milano Auditorium.
Improvisation plays a central role in Yuanfan’s performances, where audiences suggest themes and musical styles from which he creates original works live in concert. His improvisation videos have attracted a large online following, with nearly two million views across social media, and in 2025 he presented two fully improvised concerts in London.
His recent competition successes include First Prize at the Ricard Viñes International Piano Competition and the James Mottram International Piano Competition in 2025, following major prizes at several international competitions since 2022. As a composer, his music has been broadcast on BBC television and radio. His debut album Watercolour , released on Orchid Classics, received critical acclaim, including a four-star review from International Piano Magazine. Yuanfan graduated in 2025 from the RNCM, having previously studied at the RAM, and RCM.
I have listened to Sherri play over the past two years since she played at Steinway Hall for the Keyboard Trust, and each time I am astonished by her musical integrity and mastery. She has now added an authority and sense of weight that she has acquired from these extra years at the Royal Academy where she has gained in experience and maturity. Her impeccable playing today was that of a true artist who can now fly high and hold her own on the world stage. Not only was there a pianist who prepares her scores with scrupulous attention to the composer’s intentions but with a technical mastery and palette of colours she also has much to say as her musical personality shines through all she plays. Nowhere more than in her choice of programme that she very eloquently introduced as a programme that was based on works inspired by composers of the past.
Busoni’s wife was famously introduced as Mrs Bach-Busoni, so well known were the transcriptions of Bach that were responsible for bringing Bach into the concert hall with works that can these days seem excessive. His most often played transcription is the Bach Chaconne that Sherri included in her programme and unlike Brahms’s very faithful transcription for the left hand, Busoni reworks Bach’s genial work for solo violin turning it into a magnificent piece in it’s own right for solo piano. Sherri opened with one of Busoni’s most beautiful transcriptions of the chorale preludes: ‘ Ich Ruf zu dir ,Herr Jesu Christ’.There was a timeless beauty as her sumptuous sense of balance allowed the chorale melody to sing with angelic beauty but always anchored to a noble bass of sumptuous richness. A maturity and sense of control that allowed the work to unfold with natural flowing beauty with a whispered coda of poignant significance.
A completely different sound world opened up as Bach’s mighty ‘ Chaconne’ was played with strength and grandeur. An extraordinary technical mastery that allowed her to play with great fluidity with a kaleidoscopic palette of sounds. The same rock like solidity that I remember from Michelangeli who inspired me to learn it in my teens when I should have known better! After the haunting beauty of the ‘molto espressivo e legato’ the left hand octaves were played with lightweight brilliance, keeping a rock like tempo where Busoni warns ‘ non affrettare’ as she brought this opening to a brilliant conclusion.There was a poignant simplicity to the ‘sostenuto’ that followed building to a animated episode where Busoni does in some way imitate the solo violin with playing ‘con fuoco ed animato’. Sherri playing with crystalline clarity building in intensity to the triumphant declamation of the theme that she played with sumptuous full sounds of commanding authority. This was contrasted with the beautiful tenor melody that Busoni marks ‘quasi tromboni’ which are obviously trombones made in heaven. A great sense of control with a very deliberate Allegro moderato ma deciso and a gradual building in tension until the final overpowering declamation of this masterly chaconne.
The Ravel waltzes were a homage to Schubert who had written two sets with the same title. Ravel had prefaced his with a quotation from his friend, the poet Henri de Régnier : “…le plaisir délicieux et toujours nouveau d’une occupation inutile” (‘ the delicious and forever-new pleasure of a useless occupation’.) They are a series of eight waltzes written in 1911 in impressionistic and modernist style. Rubinstein had given one of the first performances in Spain that were famously booed, but that he deliberately played again as an encore ,much to the dismay of his adoring public! Sherri played them with fearless abandon and poetic intensity. The strident opening was played musically with insinuating counterpoints just adding a web of colour to this first waltz. She brought a beautiful luminosity to the second with a masterly use of the pedals creating a luxuriant sound where clashing harmonies were played with poetic intent.The third was of childlike simplicity of lilting beauty and the fourth was just a wave of sounds. She brought a sense of nostalgia to the fifth with insinuating French refinement as the sixth became a lumbering dance of awkward movements. The seventh is the longest and a miniature tone poem with it’s questioning opening before taking flight with Viennese delight, building to a passionate climax that immediately dissolved into a multicoloured whispered outpouring before the final explosive climax. The eighth is a magical ‘Épilogue’ that Sherri played with ravishing sounds of languid beauty.
The Brahms Handel Variations are often given to students to perfect technical mastery combined with musical understanding and it is a masterwork that Sherri revealed in all its glory today. A technical mastery that allowed Sherri to bring colour and shape to each of the twenty five variations with playing of fearless technical command but also of poetic beauty. A crystal clarity to Handel’s theme led to the first variation of dynamic drive and euphoric rhythmic energy. A flowing freedom to the second played with a seemless legato as she brought elegance and graceful playfulness to Brahms’s syncopations in the third. A crisp clarity to the outburst of octaves of the fourth as the change of key brought a beautifully expressive change of character to the fifth and the whispered conversing of overlapping octaves played with a beautiful horizontal legato. Great vitality to the seventh and eighth with its driving forward movement and an imperious authority to the ninth. A brilliant chase over the entire keyboard for the tenth and a beautiful flowing outpouring of the eleventh with some pointed harmonies just adding depth to the sound. The delicate left hand horn call of the twelfth was followed by the grandiloquence of the thirteenth. The treacherous sixths of the fourteenth were played with masterly ease and were followed by the fifteenth to seventeenth of capricious audacity. She brought a beautiful reawakening of improvised beauty to the eighteenth and a lilting rhythm to the elegant question and answer of the dance movement of the nineteenth. A quasi orchestral build up was interrupted by the unexpected eloquence and pastoral beauty of the twenty-first and second . At the twenty third variation Sherri started the impetuous build up to the mighty triumphant outpouring of the theme of the twenty fifth. The fugue with which this work ends was played with masterly authority and aristocratic control which brought this remarkable performance to an ending of great exultation.
Showing no sign of tiredness after such an imposing programme she was happy to play an encore of her own transcription of a song by Ponce : ‘Estrellita’ that she played with great abandon and beauty.
Sherri Lun, named ‘2020 Performing Artist of the Year’ by the South China Morning Post, has garnered acclaim for her “pinpoint clarity and convincing bravura” (Chicago Tribune). Selected as a 2025/26 Kirckman Artist, Sherri is also supported by the Keyboard Charitable Trust, Lang Lang International Music Foundation, and KNS Classical, with whom she released her debut CD album in 2023. Since making her concerto debut at the Ravinia Festival at age 10, she has performed in major venues including Wigmore Hall, Fondation Louis Vuitton, and Millennium Park. Having performed extensively across Europe, Asia, and the US, Sherri’s current 2026 season marks her solo debuts at Bridgewater Hall, Wigmore Hall, Kings Place, Brighton Festival, alongside concerto appearances in the UK and Italy. Sherri has appeared with ensembles such as the Salzburg Chamber Soloists, Munich Chamber Orchestra, Cologne Chamber Orchestra, and been broadcasted on Radio Television Hong Kong. In 2025, she was nominated by Dame Imogen Cooper to join the Lieven Piano Foundation.
Sherri won First and Audience Prizes at the 2024 Birmingham International Piano Competition, and is also a 2025 Royal Over-Seas League award winner, following top prizes at the Robert Schumann (Düsseldorf), Zhuhai Mozart, and Steinway & Sons Youth Piano Competitions. Most recently, she was awarded the Special Prize from the Mozart Society Munich at the ARD International Music Competition. At the Royal Academy, she won consecutively the Sterndale Bennett (2022), Chung Nung Lee (2023), and Harold Craxton (2024) Prizes.
Born in 2003, Sherri majored in piano and viola as a junior student at the Hong Kong Academy for Performing Arts. She is currently pursuing her Master’s Degree with Prof. Christopher Elton as a Leverhulme Scholar while holding external scholarships from the Craxton Memorial Trust, Help Musicians UK Rupert Heggs Award, and the Countess of Munster Musical Trust.
A full house for Zeju Fan on one of the hottest days of the year. The debut recital of this 23 year old Chinese pianist who for the past six years has been perfecting his studies with William Fong at the Purcell School and now graduating this summer from the Royal Academy. Having received his early training from the Beijing Academy for young musicians Zeju Fan was able to cope with the quite considerable difficulties of Beethoven’s ‘Waldstein’ Sonata which Delius was to dismiss as all scales and arpeggios !
There was much more to Zeju Fan’s performance as his architectural understanding and palette of colours imbued this work with the driving intensity and the genial invention of a composer who in his midlife had taken the simple form of his mentor Haydn and transformed it into a work of symphonic proportions .
From the very first notes there was a whispered driving energy but above all a tempo ‘con brio’ that could encompass the entire movement without any variation in tempo. Contrasts in dynamics where in the development leaning on the bass harmonies gave much more impact to the impatient outbursts of the composer . The introduction, Adagio molto, to the final rondo was played with timeless wonder where his orchestral sense of colour was used to poignant effect. The final ‘g’ allowed to resonate as it became the first note of a beautiful bell like rondo melody on an undulating whispered bass. Contrasting episodes became ever more intense and technically profuse with Zeju Fan playing with fearless clarity and brilliance. The final coda erupted with music box vitality, Zeju Fan playing the glissandi with masterly ease as he allowed the melodic line to float on a wave of trills that were to become so significant as the composer reached his final years. Not just trills but waves of vibrating sounds that in the next century would signify the ‘star’ for Scriabin.
Even more remarkable was the Sonata op.1 by Berg
I had first heard this sonata as a student in this very hall from the magical hands of Shura Cherkassky. It is a masterwork of knotty twine but also with a very concise construction needing a chameleonic sense of colour. Passionate outbursts are the culmination of these strands that are woven together with seeming random, but are in fact a very tightly constructed masterpiece. Zeju Fan managed to imbue this work with extraordinary sensibility and passionate intensity with an architectural understanding that gave great strength to a work that in lesser hands can seem to be a work in progress.
It was the same understanding and technical mastery that he brought to two of Ligeti’s intricate studies . From the insistent repetition of notes of the tenth with its perpetuum mobile of Reich like insistence that Zeju Fan played with extraordinary mastery and a concentrated intensity of burning conviction . To ‘Musica’ n 7 with the remarkable continuous bass outpouring of whispered insistence with a beautifully glowing melody above, revealing Zeju Fan’s technical control and masterly use of the pedal.
Flowers from admiring friends Zeju Fan with his wife
Zeju Fan is a very passionate young man and the Sonata by Liszt is like giving a red rag to a bull . It was here that from the extraordinary whispered opening he seemed to switch off all the remarkable intelligence and masterly control of the two ‘B’s’ and was wallowing in the romantic outpourings and virtuosity of the Liszt Sonata . There were many beautiful things and some fearless passionate outbursts but it was Liszt himself who had scratched out his first ending of the sonata that finished in a blaze of glory. He substituted it with one of the most extraordinarily prophetic pages in all the Romantic repertoire. It is of a completely original form using the opening three themes as the leit motif throughout the Sonata, transforming the conventional Sonata Form into a container for the Romantic outpouring of operatic characters. A form that Schubert had found for his Wanderer Fantasy that had inspired Liszt and was in turn to inspire Liszt’ s son in law Richard Wagner.
However even if it was not the same maturity as his Beethoven or Berg it was the passionate outpouring of a young artist who loves music and is transmitting that love to the public with quite considerable mastery.
Zeju Fan is a London-based pianist whose recital programmes are conceived as carefully structured artistic arguments.
Trained at the Central Conservatory of Music in Beijing and the Purcell School, he studied with William Fong on full scholarship at the Royal Academy of Music, where he continues as a postgraduate artist from September 2026. Under Fong’s direction, he has developed a discipline of clarity and control, pursuing the expressive potential of each phrase through detailed, structural work rather than surface effect.
His programming reflects a sustained engagement with musical form and its transformation. He is drawn to programmes that trace a continuous arc: from the structural certainty of late Classicism, through the dissolution of post-Romantic language and the fragmentation of Modernism, to the large-scale expressive architecture of Liszt. Each work in such a sequence reshapes the listener’s perception of what precedes it.
Alongside his solo work, Fan is an active chamber musician, with a particular commitment to the cello–piano duo and piano quintet repertoire. He is a member of Talent Unlimited, a London-based organisation supporting emerging professional musicians.
A fascinating programme from Jamie Cochrane for the Keyboard Trust at Steinway & Sons yesterday. A young man with already a first from Oxford and his Dip Ram for postgraduate studies at the Royal Academy where he was mentored by William Fong and Michael Dussek .
An eclectic programme from a thinking musician with just two works : Schubert’s penultimate Sonata paired with Godowsky’s rarely heard Passacaglia in B minor that is based on the opening theme of Schubert’s Unfinished Symphony .
The Schubert Sonata showed Jamie’s architectural understanding combined to a crystalline clarity and poetic beauty. Playing of authority and masterly control as he allowed Schubert’s mellifluous outpourings to live in harmony with the imperious outbursts of the opening ‘Allegro’. A glistening beauty to the ‘Andantino’ of refined playing where even Leslie Howard was to compliment him on the intelligent use of the pedals that could combine clarity with harmonic understanding. A ‘Scherzo’ that was played with scintillating ‘ joie de vivre ‘ which contrasted with the simple pastoral beauty of the Rondo . A coda ,Presto, showed off Jamie’s fearless technical command as he brought this masterwork to a heroic ending. It was to be one of the last works of the composers 31 years with a trilogy of Sonatas that like Beethoven was to be his ‘Schwanengesang.’
Some remarkably mature playing of intellectual and poetic understanding that was to be followed by the opening theme of the Unfinished Symphony alla Godowsky.
Leslie Howard in discussion with Jamie after the concert.
A performance of this rarity in the concert hall, that Jamie played with passionate conviction and remarkable technical mastery. As Jamie was to say in the conversation with Leslie Howard at the conclusion of his recital, he has a musical curiosity that wants to discovery many unusual works left inexplicably on the shelf of the piano archives .
After his exhilarating and scintillating performance of Godowsky, Jamie was left alone with Schumann, as the poet was allowed to speak with poignant beauty.
Leopold Mordkhelovich Godowsky Sr. 13 February 1870 – 21 November 1938 was a virtuoso pianist, composer and teacher, born in what is now Lithuania to Jewish parents, who became an American citizen in 1891. He was one of the most highly regarded performers of his time, known for his theories concerning the application of relaxed weight and economy of motion within pianistic technique – principles later propagated by his pupils, such as Heinrich Neuhaus. He was heralded among musical giants as the “Buddha of the Piano”. Ferruccio Busoni claimed that he and Godowsky were ‘ the only composers to have added anything of significance to keyboard writing since Franz Liszt.’ Godowsky was one of the most highly regarded pianists of his time, praised by listeners, colleagues, and critics alike. Artur Rubinstein remarked that it would take him ‘five hundred years to get a mechanism like Godowsky’s.’ Many of Godowsky’s original works are considerably difficult to perform; the Passacaglia which consists of 44 variations, cadenza and fugue on the opening theme of Franz Schubert’s ‘Unfinished’ Symphony was declared to be unplayable by Vladimir Horowitz, who claimed it would require six hands to perform.
Elisabeth Leonskaya one of the elite trio of Russian women pianists that includes Eliso Virsaladze and Oxana Yablonskaya all now in their Indian summer .They all have something in common that they do not play the piano but the piano plays them .
After a lifetime dedicated to music with humility and mastery music pours from their being as they place their long drawn out arms above the keys allowing the music to be transmitted to us with a simplicity and directness that I can only remember hearing from Kempff and Agosti .
Tonight we were at the Barbican to listen to the last sonatas of Mozart, Beethoven and Schubert that Leonskaya transmitted to us with the experience of a lifetime of delving into the very core of their creation . A simplicity and directness that united the audience in this vast Symphony Hall and drew us into a magic world where time stood still as we lived together an extraordinary moment of creativity of which we too were an integral part.
Ending with the slow movement of Mozart’s Sonata ‘Facile’ K 545. As Schnabel famously said ‘ too easy for children but too difficult for adults’.
With Madame Leonskaya it was simply sublime!
A disarming simplicity to her public appearance as she is a servant at the service of the composer. Walking on stage and seated at the piano immediately she opened the D major Mozart with a whispered understated opening of disarming simplicity. She was giving us an architectural view of this movement so often played like a call to arms. She was leading to the remarkable development where Mozart completely transforms this opening into a multitude of varying patterns, from a knotty twine of counterpoints to sounds that seemed like horn calls from one mountain top to another. An extraordinary range of layers of colour and a poetic vision that was simple and radiantly beautiful. Bursting into the recapitulation like rejoining an old friend , with the same whispered ease with which she had opened, adding a meandering coda where Mozart’s final words were this cell like figure that had been the pivot on which all revolved and evolved. Leonskaya showed us the simplicity of Genius without any underling or overstating . It is exactly what I remembered as a student listening to Kempff, the supremely humble Kappelmeister.
A chiselled ‘Adagio’ of luminosity and weight with a disarming simplicity as washes of sound are dispensed with, until a melody of subtle beauty appears and lingers with nostalgia and simple flowing radiance.A gentle jeu perlé of jewel like perfection was thrown into the wind with knowing mastery as this movement came to the gentlest of endings.
A simplicity to the ‘Allegretto’ with its subtle question and answer played always of buoyancy and flowing naturalness. A crystalline clarity and sense of orchestral harmonic outpourings but always returning to the disarming simplicity of the rondo theme.
Leonskaja simply standing out of view as she awaited the moment to follow Mozart with Beethoven
The opening of Beethoven’s last Sonata was played with imperious strokes not of showmanship but of the exasperation that this sonata must have meant to the composer. Three great declarations played with the minimal of fuss and only ‘forte’ as fortissimo is still to come after this momentous introduction. The final flourishes to these three outburst thrown off with natural ease as she got on quite simply to the next one. It was the clashing dissonances that she was pointing us to, as she gradually found release in the major key with a quite undemonstrative arrival note. It was the following opening motif where she really threw herself fully into the fray, just as she was to do with the tumultuous earth shattering ending of the recapitulation of the Schubert Sonata . The music was allowed to unfold like water boiling at 100 degrees ( as Perlemuter aptly said) but in Leonskaja’s hands it was what was immersed in the water that was of such importance, the rest was mere detail. Her arrival at the development with three simple strokes but it was the prolonged rests in-between that were so overwhelming as we waited with baited breath for Beethoven’s knotty fugato and the final triumphant outpouring of the theme in all its imperious glory. The ending thrown off with nonchalant ease as this was just an introduction to the profound outpouring that was to follow.
a life’s work nobly done as she strode off for a break before Schubert
‘Adagio molto semplice e cantabile’ flowed with glowing beauty of radiance and timeless simplicity. As though suspended in space each variation was shaped with a flowing beauty and extraordinary inner intensity. The tempo never changing as we were on a planet where the rarified air even after a momentary explosion was of otherworldliness. A beautiful simplicity to the intricate weavings and meanderings as the undercurrent of sounds were ever present . with the bass vibrations . The melodic line eventually allowed to shine with radiance and subtle calm until the final trill where Leonskaja managed to bring a jewel like precision and beauty to this final apparition etched in stone surrounded by etherial unworldly sounds . That Beethoven had these sounds in his head and could write them down for posterity was miraculous as he reached for his star with a whispered farewell.
I was reminded today of Agosti playing this Sonata in Rome on one of the rare occasions that we managed to persuade him to leave the privacy of his studio in Siena and share his discoveries with a larger world. No rhetoric or showmanship but allowing the music to unfold with disarming simplicity delving ever more deeply into the genial mind of a composer who could convey so much with so little.
The opening of Schubert’s B flat sonata like the opening of Beethoven 4 is where the whole scene is set in an opening of disarming simplicity .To come on stage and open with such a statement with ease and naturalness as though it had begun already before you sat down is the ideal that all pianists strive for…….and rarely succeed! With Leonskaja, like everything she did, it was with a naturalness and ease as she opened her arms to caress the keys. A whispered radiance to this opening song of destiny with the deep rumble in the bass leaving a slight unease. The final rumble with four very clearly pronounced notes in the bass took us to a mellifluous outpouring of simple beauty and the generous return of the opening theme. Leading to an impulsive outcry where Leonskaja very subtly slowed the tempo for the etherial duet between the voices that followed. A simple ländler appears on the scene with a ‘joie de vivre’ of infectious jeu perlé leading to a flourish thrown off with apparent gentle dismissal ( as in the opening Beethoven) before the ominous menace of the crucial bars of the repeat before the ritornello. Ever more menacing as Leonskaja like a mad woman threw herself into the keys with demanding authority of overwhelming effect. The gentle return of the opening was like a relief from this sudden vision of madness.
The ‘Andante sostenuto’ was a lesson for all would be pianists as the relaxed waving of arms just painted a beautiful background to the disarming simplicity of the melodic line that was captured within. The gentle chorale in A major was played with whispered understatement where Leonskaja allowed the beauty of the music to speak without any underlining. The return of the opening was even more poignant as Leonskaja added even more subtle detail to the landscape that she was painting in sound.
The ‘Scherzo’ played pianissimo with a radiance and simplicity as it was allowed to sing its song without any fuss, just unwinding with natural exuberance. Schubert’s bumps in the night ‘fzp’ in the Trio were played not with sharpness but with a fullness of sonority that did not disturb the melodic line but like the trill at the opening made one realise that all was not well with the world.
An imperious ‘G’ played with luminosity announced the simple outpouring of the ‘Allegro’ that Leonskaya played with generous ease. Bursting into a long mellifluous outpouring that she allowed to flow across the keys with radiance and a wonderful sense of balance where the melodic line emerged from the inner harmonies that were unfolding. ‘Fortissimo’ in Schubert is all too rare and when it occurs Leonskaja knows he means business and threw her whole body into these passionate outpourings that suddenly erupt, but are short lived as they dissolve as fast as they arrive, ending in the simplicity of a lilting dance spread over the entire keyboard with disarming ease. Suddenly a question mark as the theme is interrupted and our pivotal G turns to G flat and then F before resolving on G and a coda off lightweight brilliance played with extraordinary clarity in duplets up to the final two simple chords.
The slow movement from Mozart’s Sonata Facile just made us wonder why we do not hear such disarming simplicity and mastery on this stage more often. It can remind us that all the world is a stage and the men and women merely players, a lesson so desperately needed these days where quantity takes precendence over quality!
I have heard Mariamna play many times over the past year as she prepared for her Master’s Degree at the Royal College of Music under its Head of Keyboard director, Vanessa Latarche. I have heard her play many works including those that she played today which you can read more fully about in the links below. But amazingly in record temperatures she rose to new heights with a recital of pianistic and stylistic perfection.
I remember her playing the Bach in a masterclass at the RCM and she asked me my opinion of her playing as she had been confused by conflicting influences. I told her that there was no right or wrong way to play Bach but it must convince and convey the message within the notes. Should one play authentcally on an instrument that Bach would not have known in his time or should one take advantage of all the possibilities of colour and power that a modern instrument could provide? There is a way to decide and that is with a knowledge of style which allows natural musicianship and individuality, space to bring the notes to life.
Bach’s music is based on the song and the dance which is the way of Angela Hewitt ,Tatyana Nikolaeva or Andras Schiff . But there is also the school of Rosalyn Tureck , known as the High Priestess of Bach because of the monumental rock like solidity of her playing. But at the base of all interpretations is faithfulness to the composers markings and above all a sense of communication of total conviction. Anyone who saw Rosalyn Tureck bouncing on the seat in the Gigue from the First Partita as I did on the stage of the RCM when she gave a memorable lecture on the interpretation of Bach would question the so called ‘etiquette’ that is added to performers of note.
And so it was today that Mariamna played Bach’s beautiful First Partita with a radiance and beauty as she allowed the Prelude to unfold with pastoral ease. A beautiful fluidity to the ‘Allemande’ which she also brought to the ‘Courante’ where her lightweight non legato was shared with legato counterpoints of jewel like brilliance. The ‘Sarabande’ was played with timeless wonder and poignant beauty leading to the Minuet 1 of graceful delicacy with teasing ornaments added with great taste. The Minuet 2 was played with subdued colour but with ornaments of crystalline clarity with a joyous sweep into the return of the first Minuet. She brought a refined brilliance to the Gigue which she played with exhilaration and refined exuberance. This is one of Bach’s most perfect works and was played with elegance, intelligence and beauty.
A rarity in the concert hall these days are the 32 Variations in C minor where one is more likely to hear the 33 Diabelli Variations, one of Beethoven’s last works for the piano. Beethoven was not happy with the C minor variations and it was not published in his lifetime, but there are some remarkable performances by Emil Gilels, Annie Fischer and Murray Perahia that can testify to the validity of this underrated work. It is made up of 32 mostly technically based variations that if played as exercises can become rather obvious and boring. But if played with poetic fantasy and a sense of architectural shape it can become a miniature tone poem of remarkable beauty. From the very first imperious opening Mariamna played with authority but also a very sensitive sense of balance bringing a beauty and shape to this dramatic C minor theme . The variations unfolded with great contrasts between the lyrical and rhythmic, a remarkable sensitivity and masterly use of the pedals allowed the work to reach the swirling mysterious brilliance of the final variation.
The two Scherzi I have heard Mariamna play recently but today I heard the culmination of a work in progress . She brought an aristocratic brilliance to these two works but at the same time a poetic timeless beauty that allowed Chopin’s Bel Canto to soar and breathe with poetic mastery . A lightweight ‘jeu perlé’ to the Fourth with flights of fantasy of glowing brilliance with refined playing allied to moments of breathtaking lyricism. She brought a languid beauty to the central episode of both Scherzi where her sense of rubato and architectural shaping brought a noble strength to some of Chopin’s most beautiful melodies. A breathtaking brilliance to end both of the Scherzi but always with masterly control and a magisterial sense of balance which meant the sound never became hard or percussive but full of sumptuous rich Philadelphian sounds.
Opening Liszt’s 12th Rhapsody with two hands as she gave an imperious opening to one of Liszt’s most popular works. Dissolving into a tenor melody of stylistic beauty as she began to produce a subtle virtuosity of beguiling mastery with a palette of colour and sounds that were of another age. A final outpouring of grandeur and masterly authority brought this recital to an exhilarating end.
On the hottest day of the year and in a beautiful floor length gown one might have been forgiven if she did not feel able to offer more. But Mariamna is a real professional and was delighted to be able to share her discoveries just a little longer with a church full of people who preferred to sit indoors listening to music rather than outdoors listening to the traffic! The slow movement from Schumann’s G minor Sonata op 22 was played with whispered radiance and beauty and was a wonderful way to end an hour of magical music making from an artist to watch out for.
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Born in 2001 into a musical family, Mariamna Sherling has emerged as one of the most compelling young pianists of her generation. Her musical formation began in Moscow, where she studied at the Gnessin School of Music, before continuing her education at the Moscow Conservatory, graduating under the guidance of the renowned pianist and pedagogue Natalia Trull. She is currently based in London, where she is completing a Master of Performance at the Royal College of Music, studying with Vanessa Latarche, one of the UK’s most respected piano professors.
Sherling’s international career took shape at an early age. In 2014, she attracted attention with her victory at the Young Virtuosos Competition in Sofia, marking the beginning of a series of major international successes. These included first prizes at the George Gershwin International Piano Competition in New York in 2015, followed by further top awards at the Carl Maria von Weber International Piano Competition in Dresden and the Lyon International Piano Competition in 2021. Her artistic profile has continued to deepen through prizes and distinctions at the Hastings International Piano Concerto Competition, the Santa Cecilia International Piano Competition in Porto, and the Piano Competition for Composers of Jewish Heritage in Hannover. Most recently, she has been recognised at the Bach Competition in Leipzig and the Campillos International Piano Competition in 2025.
Alongside her competition successes, Sherling maintains an active and expanding performance career. She has appeared as a soloist with a wide range of orchestras and has collaborated with distinguished conductors including Vladimir Spivakov, Yuri Bashmet, Rory Macdonald, Natalia Stets, Sergei Stadler, Osvaldo Ferreira and Nayden Todorov. Her orchestral engagements have included performances with the Royal Philharmonic Orchestra, the Elbland Philharmonie Sachsen, the Orquestra Filarmónica Portuguesa and the Orchestra Sinfonica Città di Grosseto.
Her artistic development is supported by a number of prestigious awards and scholarships, including the Christopher Hogwood Scholarship, the Steinway Scholarship, support from the Drake Calleja Trust and the Robert Turnbull Piano Foundation. Together, these honours affirm her position as an emerging artist of distinction on the international concert stage.
More masterly playing from Angela Hewitt on the eve her Trasimeno Music Festival amazingly in it’s twenty first year. Angela who was awarded the Wigmore Hall Medal in 2020 considers the Wigmore as her second home playing many time each year to her adoring public, having made her debut at the Hall over 40 years ago and has given well over 80 performances since. She turns her refined artistry to the joy and wonder of works from the heart of her repertoire, crowned with the awe-inspiring expressive shifts of Bach’s Second Partita.
Beginning with Mozart Sonata in B flat K 570 that she played with crystalline clarity and refined phrasing of radiant simplicity and ‘joie de vivre’. Playing of great weight with leisurely discreet ornamentation on the repeat. An authoritative full stop as the operatic second subject took centre stage with radiant beauty. There was a playful question and answer of the opening theme before the whispered measure elegance of the recapitulation. The Adagio was played with a string quartet richness of sound of poignant beauty with the mellifluous central episode played with disarming simplicity and radiance. If the Allegretto seemed a little slow it was because it was with such infectious buoyancy where everything was played with measured elegance and extraordinary clarity. A scrupulous attention to Mozart’s few markings led to a very bold ending of great effect.
A rich palette of sounds with a sense of timeless wonder as the ‘Pastoral Sonata’ was allowed to unwind with simplicity and luxuriant beauty. Building to a climax of Beethovenian outbursts that Angela played with dynamic drive and imperious authority dissolving always into this scenario of peace and pastoral simplicity. An ‘Andante’ that was a lyrical outpouring with its question and answer central episode played so eloquently, maintaining the same tempo as the Andante opening, which gave great strength to the architectural shape of a movement that Beethoven was particularly fond of. A beautiful meandering variant of the opening was allowed to flow across the keys with undulating insinuation where Angela’s scrupulous attention to Beethoven’s indications dissolved into a coda of remarkable originality and exquisite beauty. A whispered opening to the ‘Scherzo’ contrasted with Beethoven’s sudden unexpected outbursts and gave great energy to this extraordinarily capricious movement . Angela brought a grace and lilting beauty to the Rondo. Played with extraordinary clarity building in intensity with knotty counterpoints before returning to the gently ornamented rondo theme. The coda was played with extraordinary energy and a remarkable ‘fingerfertigkeit’ of brilliance and exhilaration.
Angela even chose another early Beethoven Sonata as an encore, playing the slow movement of the ‘Pathétique’ op 13 with the same song and dance elements that illuminated her masterly playing with remarkable freshness and originality. It is the same song and dance elements that Angela is renowned for with her Bach performances which are played with a touching simplicity and natural rhythmic impulse. This Agagio cantabile was not only remarkable for the beauty and simplicity of her phrasing but also the contrast she brought to the central episode that was of orchestral conception as the cellos conversed with the violins before the return of the Adagio with the undulating violas carrying us forward on wings of song.
As Angela had said in her brief Green Room interview she had listened to her recording of the Schubert Waltzes just to make sure that they were in fact danceable, as Angela as a child had also been trained as a dancer. And in fact they were twelve miniatures of contrasting images of insinuation, nobility, nostalgia and exuberance played with a palette of colours that brought each one exquisitely to life.
In Haydn’s own words he had written the Fantasia or Capriccio in C :’ In a moment of great good humour I have completed a new Capriccio for fortepiano, whose taste, singularity and special construction cannot fail to receive approval from connoisseurs and amateurs alike. In a single movement, rather long, but not particularly difficult.” It is based on the Austrian folk song D’ Bäurin hat d’Katz verlor’n (“The farmer’s wife has lost her cat”) and Angela imbued it with spontaneity and hi jinx of refined exuberance where her self identification brought it vividly to life with an infectious ‘joie de vivre’.
Ending with Bach’s Partita n. 2 in C minor BWV 826 as she said it finishes with such a sense of exhilaration that rather than opening the recital she had decided to close her recital with a work that she has played many times in this very hall . The six movements Sinfonia Grave adagio – Andante, Allemande ,Courante, Sarabande ,Rondeaux and Capriccio were all imbued with the song and the dance . These were not monuments to be admired from a distance but works of compelling rhythmic energy with moments of poignant beauty all played with a clarity and mastery that Angela is renowned for. She had in fact taken her Bach Oddyssey, born at the Wigmore Hall, on a highly acclaimed world tour that has consolidated her position as one of the finest Bach players of her time.
‘Magic moments ‘ on the Spada farm where beauty music and friendship are linked on wings of song. Thanks to Massimo Spada and his ever growing family who together with Mario Montore and the young artists from their Avos Project kept us spellbound on this balmy night on the eve of the Giornata della Musica.
Guided with charm , extraordinary sensitivity and intelligence by Gaia Vazzoler as she lead us through a world of Music and Nature.
𝑷𝒂𝒆𝒔𝒂𝒈𝒈𝒊 𝒔𝒐𝒏𝒐𝒓𝒊: 𝒍𝒂 𝒎𝒖𝒔𝒊𝒄𝒂 𝒅𝒆𝒍𝒍𝒂 𝒏𝒂𝒕𝒖𝒓𝒂 𝒅𝒂𝒍 𝑹𝒊𝒏𝒂𝒔𝒄𝒊𝒎𝒆𝒏𝒕𝒐 𝒂 𝒐𝒈𝒈𝒊” è per 𝒔𝒂𝒃𝒂𝒕𝒐 𝟐𝟎 𝒈𝒊𝒖𝒈𝒏𝒐 𝒂𝒍𝒍𝒆 𝒐𝒓𝒆 𝟏𝟖:𝟎𝟎.
GaiaVazzoler
Man may change but nature remains a constant presence and consolation as we were guided from prophetic words to the magic world of music.
Gaia Vazzoler in conversation with a large group of admirers
All this with tasting of the typical local produce between these two worlds
Schubert Lieder superbly sung by Sylvia Schwartz with her refined duo partner Mario Montore .
Gaia Vazzoler
Of course such a feast needs celebrating and it was Saint -Saëns with his Zoological Fantasy that provided the fun and games for nine expert soloists guided from the piano by Massimo Spada.
Donkeys braying, pianists annoying , a ravishing swan swanning it in this balmy atmosphere, elephants awkwardly dancing the can can and even a cuckoo appearing unexpectedly from the window as she looked on with a smile on her face .
But it was the final parade where there was a free for all of exhilaration and masterly playing that by overwhelming demand had to be repeated .
Even Beatrice Rana had put Margherita to bed and came to join in the fun led by her Massimo !
Twilight had turned to night and it was time to leave this paradise uplifted as we ventured back to the Eternal City just 50 miles down the road.
Sylvia Schwartz with Mario Montore
‘Onde Sonore’ by Giancarlino Benedetti Corcos inspired by tonight’s works
Can it really be five years since I last ventured into these parts ?
Gaia Vazzoler with the President of Alba Onlus , the proceeds from this evening will go to the Charity he represents
ChristopherAxworthy-MusicCommentary 