
With the joy of graduation recitals out of the way four remarkable young artists could let their hair down and wallow in the sumptuous effusions of the equally youthful Rachmaninov.

Sherri Lun and Melody Wu played the very early Fantasie -Tableaux Suite op 5 with sumptuous sounds and a refined sense of balance . Streams of delicate golden sounds accompanied Rachmaninov’s unending melodic invention that he had inherited from Tchaikovsky .Whispered magical sounds passed from one piano to the other with a subtle flexibility and wondrous palette of sounds. With the Easter bells pealing these two refined young artists let rip with joyous glee and remarkable technical finesse.

The second suite op 17 is much better known thanks also to the historic performance of Argerich and Freire who just passed by Barenboim’s festival in 1968 at the QEH, in between a shopping spree, to give a performance that has gone down in legend.
I imagine it could only have been matched by Rachmaninov and Horowitz playing together at a Hollywood Party in the 40’s.
It is a work that needs youthful passion and transcendental technical control which Milda Daunoraite and Kasparas Mikužis have in abundance. What is it about the Lithuanian school that has a fluidity and ease when they play that is the envy of us all? Milda allowing Rachmaninov!s sumptuous melodies to transport her with visible emotion. Kasparas less demonstrative but what a remarkable talent of glowing fluidity and imagination . The Valse just flew from their well oiled fingers with perfect ensemble as they felt it as one .

Milda like Katherine Hepburn to Kasparas’s Clark Gable , what a pair and what music! Sparks flying in the Tarantelle as emotions were aflame after the subdued beauty of the Romance.


Sherri Lun had transcribed the slow movement of the cello sonata for eight hands on two pianos which showed off the sublime artistry of all four and not ending with the showmanship and bravura of the Rachmaninov Suites but with tears of glowing warmth of sublime beauty.





