JunLin Wu at the Solti Studio- Savagery and refined elegance of a warrior

https://christopheraxworthymusiccommentary.wordpress.com/2019/03/27/jun-lin-wu-a-star-is-born/

It was nice to hear JunLin again in the same programme I had heard on Elton John’s Red Piano in the Elgar Room of the Royal Albert Hall.Here is a more detailed report on almost the same programme as today:

https://christopheraxworthymusiccommentary.wordpress.com/2022/04/02/jun-lin-wu-upstages-elton-john-in-the-shadow-of-elgar/

Here on the sumptuous Fabbrini Steinway in Sir George Solti’s private studio I could appreciate even more the extraordinary colours and excitement that Agosti’s 1928 transcription could communicate from the hands of this young virtuoso who seems to know no difficulties.An extraordinary sense of balance allowed him to ravish and astonish just as much as the original full orchestral score.

The sheer animal excitement from the very first notes played without a break after the Scriabin Reverie were like an animal about to pounce.It was,though,the sumptuous beauty of the magical appearance of the Firebird that took our breath away as it gradually built up to its tumultuous conclusion.It brought back great memories of the weekends spent with Agosti playing Beethoven late quartets and Brahms Symphonies together four hands whilst our wives spent the day enjoying the beach!

Guido Agosti on his left his wife Lydia Stix Agosti and on the right my wife Ileana Ghione

Agosti was a very reserved person until you sat him at the piano and as all those that frequented his studio in Siena can testify there were sounds heard in that room in the Chigiana that would never be forgotten.Sounds that he miraculously found in this remarkable transcription.

Dmitri Alexeev with JunLin
https://christopheraxworthymusiccommentary.wordpress.com/2021/11/13/dmitri-alexeev-mastery-and-communication-beyond-all-boundaries/

Listening again to JunLin I could marvel at his intelligence and refined artistry in Chopin that never reached the heights though that he found in the Stravinsky.In the Firebird he was a savage hunter where his whole appearance and approach to the keyboard was of a fearless warrior.In Chopin it was as though he was in awe of this refined aristocratic poetry .In Stravinsky he played horizontally as though spreading the sounds over the keyboard whereas with Chopin he played vertically looking on from above rather that creating from within.

It was remarkable playing nevertheless but I could not understand why the sound world of Stravinsky and Chopin should have appeared so different on the same piano.A much requested encore was rewarded with a delicious rendering of Cordoba by Albeniz with sumptuous subtle sounds of beguiling freedom.

Dmitri Alexeev admiring Solti’s score of the St John Passion

A remarkable series of recitals for young musicians in memory of Lady Solti and organised by the indefatigable Lisa Peacock.This was last week’s recital :https://christopheraxworthymusiccommentary.wordpress.com/2022/05/04/lorenzo-adamo-rhythmic-tension-and-luminosity-at-the-solti-studio/

JunLin with Mrs Alexeev – Tatyana Sarkissova
The remarkable Studio of Sir George Solti
Cristian Sandrin in discussion with Dmitri Alexeev with Petar Dimov and Damir Durmanovic in the background – some of the many pianist present to admire the artistry of JunLin
JunLin rushing back to the Wigmore Hall where he was in the middle of a chamber music competition – this recital was his lunch break!
The St John Passion open as Sir George Solti had left it in his studio.

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