Nikita Lukinov at St Marys The charm and aristocratic style of a star

Tuesday 6 June 3.00 pm 

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Nikita barely had time to try two notes on the piano due to a delayed flight from Glasgow but it was time enough for him to give masterly performances of the two important works on his programme.Nikita has done much to create funds for the Ukraine relief fund and so it was particularly poignant that he should have chosen to close his recital with the ‘Great Gate of Kiev’.Two important works played with great authority and a sense of character that brought them both vividly to life and communicated so simply and directly.The occasional expression on his face gave some hint of how he was living every moment of his music making but it was the kaleidoscope of sounds and mastery of architectural shape that was so compelling.With great charm exclaiming after the Beethoven that now he had warmed up he was ready for ‘Pictures’!But it was a masterly performance of Beethoven that we were treated to where his intelligent musicianship helped him to delve deeply into Beethoven’s score following scrupulously the composers instructions.Mussorgsky was given a monumental multi faceted performance of superb control and mastery.It was ,though,in his encore of the Tchaikowsky Meditation from his newly released CD that showed off his subtle artistry and beguiling charm.From the simple opening to the tumultuous passion of the climax his magnetism held us enthralled as he shared with us the ravishing beauty of this little tone poem

There was great clarity and rhythmic energy to the Allegro con brio where the contrasts between the rhythmic opening and the mellifluous second subject were beautifully realised.The contrast from forte to piano answered by pianissimo and leading to a storm of broken octaves was exactly what Beethoven asked for as was the sweeping fortissimo changing harmonies before the recapitulation.The left hand gave a helping hand to the right that just showed what fun Nikita was having with this early Beethoven even if it was probably not necessary.He had done the same too at the end of the Trio before the scherzo and I wondered if it was pianist trickery or really just having such fun!The deeply brooding arpeggiando chords before the cadenza were played with great authority as was the fleeting little cadenza before the triumphant coda.Impishly cheeky pointing of the leaping piano and pianissimo chords just showed what fun he really was having.There was great intensity to the opening of the Adagio leading to the fluidity and touching beauty of the central episode.The Scherzo just shot from Nikita’s well oiled fingers with scintillating brilliance and the Trio took wing quite fearlessly and swept all before it before the return of the Scherzo and the seeming pomposity of the coda that just dissolved into a distant whisper.The Allegro assai was played with an infectious ‘joie de vivre’ where his control and rhythmic drive were remarkable.Even in the chorale like central episode there was a sense of bucolic enjoyment also to the final technical difficulties that Beethoven adds on to the tail of this extraordinary work.

Beethoven’s Piano Sonata No. 3 in C major Op 2 n. 3 was written in 1795 and dedicated to Joseph Haydn It was published simultaneously with his first and second sonatas in 1796.It is often referred to as one of Beethoven’s earliest “grand and virtuosic” piano sonatas.All three of Beethoven’s Op. 2 piano sonatas contain four movements, an unusual length at the time, which seems to show that Beethoven was aspiring towards composing a symphony.It is both the weightiest and longest of the three Op. 2 sonatas, and it presents many difficulties for the performer, including difficult trills, awkward hand movements, and forearm rotation. It is also one of Beethoven’s longest piano sonatas in his early period.It is second only to the Grand Sonata op 7 also published in 1796

There was an imperious opening with trumpets blaring to this monumental work.But throughout a transcendental performance there was a sense of balance and colour that brought each of the pictures vividly to life with such individual character.It was Nikita’s sense of architectural shape that could give great form and overall shape to the pictures that were all under the same roof!Startling character to Gnomus was followed by the beautiful fluidity and exquisitely phrased ‘Old Castle’ with the throbbing heartbeat from which it attempts to arise.The plaintive cry of the Children squabbling in the Tuileries was followed by the pomposity of Bydlo where his great weight wore him out completely.A magic transformation of the Promenade like a distant plain chant before the scene is filled with the preposterous ballet of the unhatched ‘chicks’ showing off Nikita’s quite remarkable technical prowess.The imperious Samuel Goldenberg lording it over the beseeching Schmuyle was remarkably portrayed before the rumbustuous Market at Limoges with Nikita’s remarkably fleet fingers.Catacombs with the Dead in a Dead language was enough to send a shiver down our spine but the atmosphere was cruelly interrupted by the massive octaves of Baba Yaga – bewitched indeed.The Great Gate of Kiev was played with noble authority and a sense of balance and control that made the final earth shattering sounds of this monument even more breathtaking.Nikita underlined the significance – that we shall never give in – with the overwhelming seemingly endless vibrations deep in the bass.

Pictures at an Exhibition is based on pictures by the artist, architect, and designer Viktor Hartmann. It was probably in 1868 that Mussorgsky first met Hartmann, not long after the latter’s return to Russia from abroad. Both men were devoted to the cause of an intrinsically Russian art and quickly became friends. They met in the home of the influential critic Vladimir Stasov, who followed both of their careers with interest. According to Stasov’s testimony, in 1868, Hartmann gave Mussorgsky two of the pictures that later formed the basis of Pictures at an Exhibition.

The Great Gate of Kiev

PICTURES AT AN EXHIBITION

Promenade l
The Gnomes
Promenade ll
The Old Castle
Promenade lll
The Tuileries: Children’s dispute
after play
Bydlo
Promenade IV
Ballet of the unhatched chicks
Two Polish Jews: Rich and poor
Promenade V
The market at Limoges
Roman Catacombs – With the dead
in a dead language
Baba Yaga: The Witch
The Heroes Gate at Kiev
Viktor Hartmann

Hartmann’s sudden death on 4 August 1873 from an aneurysm shook Mussorgsky along with others in Russia’s art world. The loss of the artist, aged only 39, plunged the composer into deep despair. Stasov helped to organize a memorial exhibition of over 400 Hartmann works in the Imperial Academy of Arts in Saint Petersburg in February and March 1874. Mussorgsky lent the exhibition the two pictures Hartmann had given him, and viewed the show in person, inspired to compose Pictures at an Exhibition, quickly completing the score in three weeks (2–22 June 1874).Five days after finishing the composition, he wrote on the title page of the manuscript a tribute to Vladimir Stasov, to whom the work is dedicated.The music depicts his tour of the exhibition, with each of the ten numbers of the suite serving as a musical illustration of an individual work by Hartmann.Although composed very rapidly, during June 1874, the work did not appear in print until 1886, five years after the composer’s death, when a not very accurate edition by the composer’s friend and colleague Nikolai Rimsky-Korsakov was published.

A portrait painted by Ilya Repin a few days before the death of Mussorgsky in 1881

Mussorgsky suffered personally from alcoholism, it was also a behavior pattern considered typical for those of Mussorgsky’s generation who wanted to oppose the establishment and protest through extreme forms of behavior.One contemporary notes, “an intense worship of Bacchus was considered to be almost obligatory for a writer of that period.”Mussorgsky spent day and night in a Saint Petersburg tavern of low repute, the Maly Yaroslavets, accompanied by other bohemian dropouts. He and his fellow drinkers idealized their alcoholism, perhaps seeing it as ethical and aesthetic opposition. This bravado, however, led to little more than isolation and eventual self-destruction.

Heralded for “magic of music-making at its finest” (Keyboard Charitable Trust) and praised as “Exceptional talent” (The Scotsman), Nikita Lukinov resides in Scotland. In recent years he performed at Wigmore Hall, Usher Hall, Southbank Centre, Kings Place and Fazioli Hall. In the 2022-23 season Nikita gave recitals at the Steinway Hall in London, British Institute in Florence, embassy of the City of Hamburg representing Steinway&Sons pianos, Hastings International Piano Series, Vaduz Rathaussaal in Liechtenstein, “Celebrity recitals” concert series in Shrewsbury and completed a tour of 6 concerts in Scotland.In April 2022 in Shrewsbury, UK, Nikita gave a recital in aid of Ukraine. Another concert of this nature was in Berlin in December 2022. More than £10,000 was raised from these events. In January 2023 Nikita won the “Walcer Prize” Competition at the Royal Conservatoire of Scotland and had his solo recital debut at the Usher Hall in Edinburgh.Nikita is one of the musicians at the Talent Unlimited and Live Music Now Scotland schemes. A disciple of the Russian Piano School Nikita Lukinov started his musical education in Voronezh, Russia. Nikita is currently pursuing his Master’s Degree at the Royal Conservatoire of Scotland on a full scholarship from ABRSM in the class of Petras Geniušas. Since October 2022 he is also a teacher in the piano department, being the youngest senior staff in the UK Music Conservatoires at this moment. On June 1st, 2023, Nikita will have a release his debut CD “Kaleidoscope”.

Nikita Lukinov plays breathtaking charity recital for Ukraine in Berlin.

Nikita Lukinov at Bluthner Piano Centre for the Keyboard Trust Liszt restored to greatness.

Nikita Lukinov at St Mary’s a masterly warrior with canons covered in flowers

Nikita Lukinov Shrewsbury and Market Drayton

The Ist of June is a big day for me! It is the RELEASE day of my debut album “Kaleidoscope”!!! 🎉🍾🎊
I was working on it for over a year, navigating and trying to perfect every step in the creation process from A to Z. The album features lesser known works of Tchaikovsky, Scriabin and Prokofiev. Do you know what were Tchaikovsky’s last pieces written for piano solo? Or you probably know Prokofiev’s ballet “Cinderella”, but do you know there is a gorgeous piano transcription that composer made himself?
These little secrets are revealed in “Kaleidoscope”! 🎶
If you would like to support me you can like the album on Spotify and share this post to your profile/story 🙏 Videos will be shortly available on my YouTube Channel too!
Special gratitude to
KNS Classical – release
Royal Conservatoire of Scotland – recording facilities
Denis Izotov – design
Sergey Elt – Sound
Help Musicians – funding
WildKat – Promotion
for making this whole thing possible!

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