Damir Durmanovic playing at Saint Olave’s. I had forgotten what a unique musician Damir is.
Anyone that can add embellishments to Chopin’s D flat nocturne and convince you is someone to reckon with.
As he could even make some slight additions to Liszt’s Mephisto Waltz n.1 that like Horowitz were breathtaking.
Improvising between each piece as he linked them together via key relationships into a whole.
Daring to start with a twenty minute Sonata by Vorisek a pupil of Hummel and making you wonder why we have not seen it on other programmes before.
A wonderful sense of balance made this Bosendorfer happier than it has ever been in lesser hands.
And what hands!
Like a well oiled orchestra with sounds that poured effortlessly from his ten extraordinary fingers.A unique musical personality convinced as he is convincing -like a breath of fresh air in this rather overcrowded profession.
Not at all a showman as he ran on and off the platform as fast as he could but someone who comunes and lives in a world of music sharing his secret world with us
Jan Václav Hugo Voříšek 11 May 1791, in Vamberk Bohemia– 19 November 1825, in Vienna As a child prodigy he started to perform publicly in Bohemian towns at the age of nine.His father taught him music, encouraged his playing the piano and helped him get a scholarship to attend the University if Prague ,where he studied philosophy. He found it impossible to obtain sufficient work as a musician in Prague, so in 1813 at the age of 22, Voříšek moved to Vienna to study law and in Vienna he was able to greatly improve his piano technique under Hummel but once more failed to gain full-time employment as a musician.In 1814, as he was starting to compose, he did indeed meet Beethoven in Vienna. He also met other leading musicians there, including the composers Spohr,Moscheles,Hummel, and especially Schubert with whom he became fast friends.He completed his law studies in 1821 and was appointed barrister to the Court Military Privy Councillor, for whom he mainly drafted legal documents. But in 1822, he at last found musical employment as second court organist and ended his legal career. He was appointed first organist in 1824.The first recorded use of impromptu as a musical term occurred in 1817, in the Allgemeine musikalische Zeitung, an idea of the publisher to describe a piano piece by Voříšek. His Impromptus Op. 7 were published in 1822, pieces known to his friend Schubert who subsequently used the description for several sets of music for piano, as did Chopin and numerous other composers.In 1823-24, like Schubert, he was one of the 50 composers to contribute a variation on the same waltz by Anton Diabelli for the on which Beethoven composed his 33 variations op 120.
ChristopherAxworthy-MusicCommentary 
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