Ludwig van Beethoven (1770 – 1827)
Sonata per pianoforte n. 21 in do maggiore op.53
“Waldstein” (1804)
– Allegro con brio
– Introduzione. Adagio molto (fa maggiore)
– Rondò. Allegretto moderato

Felix Mendelssohn Bartholdy (1809 – 1847)
– Variations sérieuses in re minore op.54 (1841)
– Tema: Andante sostenuto
– …
– Un poco più animato
– Più animato
– Scherzo in forma di canone
– Variation en écho
– Con fuoco
– Allegro vivace
– …
– Moderato
– Cantabile
– Tempo del tema
– Sempre assai leggero
– Adagio in re maggiore
– Poco a poco più agitato
– Allegro vivace
– Presto

Fryderyk Chopin (1810 – 1849)
Scherzo n. 4 in mi maggiore op.54 (1842)

Franz Liszt (1811 – 1886)
Rapsodia ungherese n. 12 per pianoforte S 244 (1847)

Giovanni Bertolazzi , pianoforte

Veneto, nato nel 1998, Giovanni Bertolazzi si è imposto in numerosi premi internazionali e si è segnalato alla critica specializzata nel 2019, dopo un exploit al Concorso Busoni e il secondo posto conseguito al Premio Venezia. Esordisce ai Concerti di Radio3 al Quirinale con un programma che parte da Beethoven (Sonata per pianoforte n. 21 op. 53) e attraversa alcuni capisaldi del suo repertorio: Mendelssohn, Chopin e Liszt.

A star was shining brightly at the President’s Palace in Rome today and Giovanni Bertolazzi‘s magnificent recital might be the last for a long time as the Prime Minister Conte will probably announce tonight…………

A Waldstein Sonata of great rhythmic energy and astonishing contrasts.The wonderful deep notes of a superb Fazioli gave such poignancy to the introduction to the Rondo that was a true miracle of subtle colouring and virtuosity.Even Beethoven’s very precise pedal indications made such sense as did the glissandi that seemed to slip from this young musicians fingers with such ease and mastery.

Mendelssohn’s Variations Serieuses were played with such subtle colouring and an undercurrent of energy that was hypnotic.The sudden hushed fugato out of which was ,after a moving respite, a rebirth of almost mystical beauty.It led so naturally to the final pages of transcendental pyrotechnics thrown off with an ease and grace that was astonishing.

A great sense of characterisation in Chopin’s fourth Scherzo built to a monumental climax before melting away to a heartrendingly haunting melodic line that was masterly.The almost timeless ornaments and whispered repeat were pure magic.But nothing could compare with the aristocratic control of an exultant ending of passionate excitement .

The Liszt 12th Rhapsody was full of subtle colouring alternating almost animal stimulation with moments of mouthwatering delicacy and charm.Whispered confessions of intimacy alternated with truly demonic technical wizardry-No wonder Liszt was chased like a pop star by all the usually well behaved artistocracy of his day.

I have heard all these pieces from Giovanni over the last year or so since hearing him at the Busoni Competition

https://www.facebook.com/notes/christopher-axworthy/viva-busoni-alive-and-well-in-bolzano-part-one-two-and-three-the-final/10156743202282309 I was not expecting such maturity and total mastery as he revealed today.

The last time I heard him was in Padua in the Sala dei Giganti, just before the lockdown last february

https://christopheraxworthymusiccommentary.wordpress.com/2020/02/22/giovanni-bertolazzi-a-giant-amongst-the-giants/

.It looks as though this too will be the last concert for a while.Another threatened lockdown seems inevitable as the Prime Minister of Italy will explain tonight on television.

https://christopheraxworthymusiccommentary.wordpress.com/2020/06/07/giovanni-bertolazzi-the-way-forward/

https://www.facebook.com/notes/christopher-axworthy/viva-busoni-alive-and-well-in-bolzano-part-one-two-and-three-the-final/10156743202282309/