Dinara Klinton at the City Music Foundation with Scarlatti,Chopin,Scriabin.
Interesting the CMF that give so much advice and help to their chosen artists on how to manage,market and promote themselves in order to be ready for the professional world.
The music is not their business but the music business is.
Splendid ….worth taking a look www.citymusicfoundation.org/support.
Dinara ,fresh from adding third prize in the Cleveland International Competition to her already impressive list of honours and prizes .
I was surprised to see a very grand Fazioli piano where I was expecting Beecham’s splendid old grand that used to be in St Martins in the Fields.
Unfortunately this magnificent new piano was just not mellow enough to suit the very resonant acoustic in the beautiful church which is St Lawrence Jewry,just next to the Guildhall in the heart of the business world in London.
I was sitting almost next to Dinara and was overpowered by the resonance even there. But Dinara Klinton‘s supreme professionalism allowed her to play a difficult programme with her usual aplomb.Two Scarlatti sonatas played with great sense of style and an almost imperceptable flexibility .
The first slow Sonata K.87 suffered from our having to adjust to the acoustic .
The second K.96 where the technical difficulties were thrown off with the same ease as a Sokolov. Here the Fazioli was in a realm of its own for the ease with which the ornaments could be played with a precision and crispness that rarely can be equalled on the German pianos.
Her Chopin Barcarolle was given a very individual interpretation more masculine alla Rubinstein than the rather feline interpretations that are prevalent these days .It did,in fact, suit the hall admirably and I expect that Dinara had understood the problems of St Lawrence Jewry and had adapted accordingly to great effect.
The Funeral March Sonata was given a very taught reading even including the repeat in the first movement which is actually in the original score .
This was a very intelligent reading , full of impetus and poetry.
The Funeral March was played with a stillness and lack of sentimentality that had just the effect that Chopin must have intended.
The last movement the famous wind over the graves was an inevitable release from the tension she had so admirably created .
In Scriabin’s Vers la Flamme op.72 ,that finished this short programme,the obsessive motif that pervades the whole work was admirable realised.
Maybe missing the demonic element that was so much part of Horowitz’s world ,it was,however, played with great cohesion and brought this recital to a brilliant close.
I was sitting with one of the most renowned critics ,Bryce Morrison ,who was glad to hear Dinara for the first time .
Her fame had in fact preceded her on this occasion.
I doubt that the CMF could have expected a more glowing example for all the work they have remarkable offered these young artists..