Mese: luglio 2025

Another beautiful programme from the Welsh pianist Tomos Boyles, who I had heard for the first time a month ago at the Giltberg Masterclass for the Beethoven Society. Beethoven’s last Sonata played by Tomos so impressed Boris Giltberg that he over ran, and Tomos almost did not make his Graduation Recital where he also played a magnificent Mussorgsky ‘Pictures’.

A recital in the sweltering tropics of Perivale today brought some impeccable playing of radiance and beauty but above all of masterly intelligence and extraordinary control. With a ‘First’ from Oxford safely under his belt he can now concentrate on his solo piano career. Fresh from winning the Dudley Competition he now presented Brahms marathon F minor Sonata . A symphony for piano which needs supreme intelligence and poetic understanding, but above all an orchestral ability to stand back and allow the music to unfold with rock like precision and control.

Opening with one of the most beautiful of Bach Preludes and Fugues that he allowed to unfold with a fluidity and glowing radiance. Even the fugue is at peace with its knotty twine and was played with a clarity where each part just added to the intensity of the whole.

Tomos had chosen four of the most beautiful of Liszt’s recreations of Schubert songs. In many ways as beautiful as the original because Liszt adds with knowing pianistic mastery sounds that allow the piano to sing in many ways more beautifully than the human voice. A sense of balance and embellishments that enhance the genius of Schubert and illuminate what are miniature tone poems. Tomos played with the refined natural rubato and the same fluidity of the human voice. All four were played with masterly understanding and an extraordinary sense of balance with a palette of colours that was ravishingly beautiful. ‘Aufenthalt’ surely must be one of the most beautiful pieces ever written where the genius of Schubert meets the genius of Liszt with a radiance and glowing beauty that is quite breathtaking.

The Brahms F minor sonata is the last of his three early sonatas for piano. It is of monumental nobility and grandeur but requires an absolute rock solid rhythmical mastery starting from the very opening fanfare. Tomos played with taught rhythm taking his time to allow the music to unfold with aristocratic nobility.There were moments of ravishing beauty where poetic freedom is allied to the pulse that is always present. A very Arrau tempo that was kept brilliantly under control with the same architectural mastery that was so much the world of the great Chilean Prince of the piano. The Andante ,again a little slow but played with such beauty and control. The coda one of the most magical of moments was played with whispered beauty as it built very gradually in intensity to the ecstatic climax . Dying away to a mere whisper of noble radiance.

The Scherzo was played with fearless abandon with Tomos allowing himself to abandon his self control and relish the exuberant excitement that is also part of Brahms. The Intermezzo is just an introduction to the Finale and like Beethoven’s Waldstein it creates an atmosphere of desolation and unworldly beauty. The Finale sprang to life and was played with mastery and sumptuous rich sounds. The coda just sprang from Tomos’s fingers bursting into its Irish gig before the great Brahmsian climax of orchestral proportions. Tomos providing the sounds of a full orchestra never hard or ungrateful but sumptuous and rich. A masterly performance of rock like perfection that now needs more abandon and passionate involvement that will come with future performances in public.

Described as possessing a ‘ romantic flair and passion that only comes from intense involvement ‘ (Carol Nixon, LMC), rising Welsh musician Tomos Boyles is rapidly carving out a career as a young and exciting concert pianist. He has performed at numerous prestigious venues including Sinfonia Smith Square, the Elgar Concert Hall, St Martin in the Fields in Trafalgar Square, the Holywell Music Room in Oxford, St David ‘ s Hall in Cardiff, and the Wales Millennium Centre. Recent performances include solo recitals at the Ludlow Piano Festival, the Beaumaris Festival, and the Wigmore Hall. He has enjoyed success in competitions, having recently been awarded the first prize at the Dudley International Piano Competition. Other top prizes include the prestigious Blue Ribband at the National Eisteddfod, first place in the EPTA competition, and first prize at the Wales International Piano Festival. His interviews have been published by the Cross-Eyed Pianist ‘ s ‘Meet the Artist’ series and broadcasted by S4C and BBC Wales. Tomos graduated from Christ Church, Oxford University in 2022 with a first-class degree in music having held a scholarship during his studies. Now a postgraduate student at the Royal Academy of Music in London, he works under Professor Rustem Hayroudinoff, having previously studied with Alison Bowring. He was recently awarded the Royal Academy ‘ s prestigious Bicentenary Scholarship, which will support his studies for an Advanced Artist Diploma next year. He has benefitted from masterclasses with such pianists as Llyr Williams, Joanna MacGregor, Leif Ove Andsnes, and Artur Pizarro. His studies are generously supported by the Countess of Munster Musical Trust, the John Fussell Memorial Trust Fund, the Robert Turnbull Piano Foundation, and the William Mealings Award. 

Boris Giltburg at the Reform club where even they had to bow to the genius of Beethoven as revealed by a master musician of humility and simple mastery. Delaying an after concert buffet because Beethoven took precedence with Giltburg lost in wonder and that he was determined to share with a remarkable op 111 from Tomos Boyles.

Tomos too only just made it in time for his Graduation Recital at the Royal Academy which thanks to Boris was truly inspired.

The Beethoven Piano Society of Europe presenting Jad Grainger Max Walsh ,Alina Pritulenko and Tomos Boyles.

I am reminded of the wisdom we heard in Agosti’s studio in Siena where the world flocked every summer to be illuminated and uplifted by one of the last disciples of Busoni .

Piano playing is horizontal not vertical – keep close to the keys with real weight with fingers of steel but wrist of rubber.

Do not rely on the left pedal to play quietly that can be done with touch and real weight. The ‘soft ‘ pedal keep for special effects but not to cover technical insensibility.

I could hear Agosti’s voice today :’Troppo forte ,troppo forte !’ as percussion took over from singing with high rise playing of youthful exuberance at the expense of the music of which we are just humble servants.

https://christopheraxworthymusiccommentary.com/2024/01/03/forli-pays-homage-to-guido-agosti/