Mese: dicembre 2025

 

 

I have known Julian since he came to the attention of the public as an unknown 16 year old who had won top prize at the much coveted Long-Thibaud-Crespin competition in Paris where Stephen Kovacevich had been President of the jury. Thanks to Dr Mather and his team I have been able to follow his career, also thanks to Talent Unlimited of Canan Maxton that has given him a platform in which to grow and refine his extraordinary intellectual and musical talents. An interruption to his studies at Oxford University to become assistant to the remarkable and notoriously severe pedagogue Rena Shereshevskaya has been just part of the long journey of this eclectic thinking musician. Completing his studies in Oxford he has been on the competition circuit where his remarkable talent has grown and become recognised as a quite unique musical personality. A mature pianistic mastery that I was aware of with his superb performance of Bartòk Third Concerto as he arrived in the final of the Leeds where he had interrupted his honeymoon to take part unexpectedly, having been placed on the reserve list! Today I was reminded of Richard Goode as I watched this eclectic artist who thinks more of the music than himself as he literally devours the pianistic repertoire and brings to our notice works that have been neglected for too long. He is able to synthesise in just a few well chosen words, the scores he is presenting, that illuminate the music that pours from his fingers with remarkable mastery and fluidity. A unique panorama of French music that was so fascinating and convincingly played that it had me searching for more information about some of the composers from D’Anglebert to De Séverac.

D’Anglebert’s Prélude from his Suite in G. Music without bar lines that was to be a great influence on all those that came after him. Julian brought it to life with an inner intensity and nobility of fluidity and clarity giving an architectural shape to music that I have never heard in a piano in recital before.

The two pieces by Rameau are well know works often played by Sokolov and others as encores, but rarely included in a panorama tracing the evolution of the remarkable French keyboard school.

‘Le Coucou’ is often given to students to acquire a finger technique as they pass on upwards from their Grade 5 ! Julian showed us today what real ‘fingerfertigkeit’ can mean as he brought this work alive not only with scintillating brilliance and glowing fluidity but with a sense of character where Rameau’s busy little ‘Coucou’ could be relished as only a great artist could show us.

There was a call to arms in ‘Le Rappel’, where Julian had warned us of the double meaning of these particular birds. Piercing sounds of great clarity with trills glistening like tightly wound springs and a forward drive of exhilaration and sparkling brilliance.

Satie as Julian told us liked to do nothing, and his music is indeed very sparse on the page. Like Debussy’s ‘Canope’, these few notes, when played with poetic understanding and masterly control, can convey the impression of stillness and chiselled beauty of these ancient relics that they describe so atmospherically.

Julian is quite right when he says that Fauré’s piano music has not been given then place in the concert repertoire that it deserves. Even if Julian is a year late to celebrate the centenary of Fauré’s death it is never too late, when played with the mastery, beauty and understanding that Julian demonstrated today . A ‘Valse Caprice’ of brilliance with a glowing jeux perlé of dynamic drive and a chameleonic range of sounds. Cascades of notes played with the beauty and elegance of pianists of the Golden age of playing when the piano could be transformed into a magic box of sounds with balance and style instead of force and showmanship. And what style Julian brought to this ‘Valse’ and the perpetuum mobile of the ‘Impromptu’ op 31 that he linked it with! The ‘Valse’ had a pulsating rhythmic energy that seemed to possess his entire body as he swayed and moved with the music, giving a natural fluidity to the sounds he produced. Never percussive but with a glowing beauty of ravishingly subtle sounds as he moved as a singer would breathe. The ‘Impromptu’ was an enlightened partner and is slightly better known in the concert hall for the beautiful central episode of radiance and beauty that is revealed, inbetween the ever more bewitching lightness of the Impromptu as it weaves it’s way inexorably forward.

Two nocturnes, the first and the last, were placed together, side by side as my teacher Vlado Perlemuter would do in his many recitals in my series in Rome. Vlado even wanted me to announce before he played them that he had lived in the same street as Fauré ( who was director of the Paris Conservatoire ) and he would send these nocturnes over with the ink still wet on the page for the young prodigy of Cortot to try out for him to hear.

There was a chiselled beauty to the Nocturne in E flat minor that Julian played with simplicity and poignant beauty. As Perlemuter would always point out, playing with sentiment but never sentimentality. There is a strength to Fauré’s music that comes from his inner faith and his dedication to the grandeur of the organ. The ominous central episode was played with masterly control of the pedal where luminosity and orchestral clarity could live happily together. There was magic in the air as the melodic line was shadowed high up on the keyboard ( another manual on the organ ) with Julian’s arms accommodating with masterly ease this extraordinary doubling of the melodic line as it builds in intensity for a tone poem of glowing beauty and radiance.

The B minor Nocturne has long been considered a masterpiece by many great pianists . Horowitz in particular in his Indian Summer of recitals would play it with great intensity as Julian did today. A seamless, mellifluous outpouring of daring harmonic audacity, with a continuous outpouring of sumptuous sounds of poignant significance. A composer who by now, was deaf and blind but could still issue the great cry of ecstasy of a true believer.

Cortot described Fauré’s Romances as his ‘sins of youth ‘ and they are very simple beautiful pieces of popular appeal. As Julian said :’one could imagine a young lady showing off her new attire ready to be admired ‘. It was played with touching sensitivity and a nostalgic beguiling beauty shaped with the elasticity of a great Bel Canto artist .

Séverac was described by Julian as the country bumpkin of French music and it was an apt description of a composer of great originality who could paint a simple picture in sound. In this piece it is the horse and cart arriving in Cerdagne.The Spanish part of France that is all light and brilliance where Julian’s playing was very descriptive, as we could almost see this horse and cart lazily making it’s way ahead.

Roussel was described by Julian as a cross between Debussy and Prokofiev. The composer had been a sailor before dedicating himself to composition and sea songs and the clanking of ropes and chains can be discerned usually in his compositions. In this particular ‘Sicilienne’ though, there was a beautiful effusion of romantic sounds played with freedom and conviction. The quiet ending suddenly becoming the vision of Jersey that inspired Debussy to write his ‘L’Isle Joyeuse’ whilst holidaying in Eastbourne.

A remarkable performance of burning intensity building into a frenzy of passionate sounds. A wonderful sense of legato as in a momentary oasis of calm a melody unwound that was to taken us to the climax played by Julian with the same passionate intensity that I remember from Annie Fischer’s memorable performance many years ago as she played it as an encore in Rome.

As an encore Julian chose an work by a lady composer. Augusta Holmès is the lady that had stolen Saint- Saëns’ heart much to the annoyance of César Franck. A little piece chosen by Julian , one of the very few she had written for piano, and it was a fitting end to such an illuminating and eclectic programme from a young man who has been transformed from a gifted teenager into a unique thinking artist. .

Julian Trevelyan is a concert pianist who performs regularly throughout Europe and in the UK. He is 26 years old, and moved to France after winning the 2015 Long-Thibaud-Crespin international competition at the age of 16, becoming the youngest prize-winner in the competition’s history. He has since won prizes at international piano competitions such as the Leeds, Géza Anda & Horowitz. 

He has appeared as a piano Soloist with the BBC National Orchestra of Wales, City of Birmingham Symphony Orchestra, Royal Liverpool Philharmonic, London Mozart Players & Worthing Symphony Orchestra in the UK. He has played with the Orchestre de Chambre de Paris, Orchestre national du capitole de Toulouse, Orchestre de Picardie, Orchestre de la Suisse Romandie, Musikkolegium Winterthur Tonhalle Zurich, Moscow Chamber Orchestra, State Academic Symphony Orchestra of Russia & St Petersburg Philharmonic, NMA Academic Symphony Orchestra, Sofia Soloists, I Pomeriggi Musicali, ORF Wien, Danubia Obuda Orchestra & Baden-Baden Philharmonic. 

Julian has made recordings with the Vienna Radio Symphony Orchestra, the London Mozart Players and the BBC National Orchestra of Wales. The first CD under the baton of Christian Zacharias was released in 2022 with the label ALPHA: Mozart’s Concertos Nos. 23 and 24. Further releases under the baton of Howard Griffiths will follow in 2025. 

Julian is the assisant of Rena Shereshevskaya at the École Normale de Musique de Paris “Alfred Cortot”. He studied in London with Christopher Elton and Elizabeth Altman. As a teenager he was part of Aldeburgh Young Musicians. This fuelled his love for contemporary music, where he premiered new music every month. He cares about supporting female and living composers and is pianist and composer in residence with Ensemble Dynamique. 

Julian Trevelyan at St Mary’s with mastery and poetic intensity

Augusta Mary Anne Holmès (16 December 1847 – 28 January 1903) was a French composer  of Irish  descent. In 1871 and became a French national  and added the accent to her last name.She also published music under the name Hermann Zenta, because women in European society at that time were not taken seriously as artists and were discouraged from publishing.Despite showing talent at the piano, she was not allowed to study at the Paris Conservatoire but took lessons privately. She developed her piano playing under the tutelage of local pianist Mademoiselle Peyronnet, the organist of Versailles Cathedral ,Henri Lambert, and Hyacinthe Klosé. Also, she showed some of her earlier compositions to Franz Liszt and around 1876, she became a pupil of César Franck , whom she considered her real master.

Camille Saint- Saëns was among the many artists – musicians, poets, painters – who became enamoured of her and fell in love with her, eventually proposing marriage, but he was turned down.Later, he wrote of Holmès in the journal Harmonie et Mélodie: “Like children, women have no idea of obstacles, and their willpower breaks all barriers. Mademoiselle Holmès is a woman, an extremist.”

Her Piano music includes :

Rêverie tzigane (1887) Ce qu’on entendit dans la nuit de Noël (1890) Ciseau d’hiver (1892)

Albert Charles Paul Marie Roussel (5 April 1869 – 23 August 1937) He spent seven years as a midshipman, turned to music as an adult, and became one of the most prominent French composers of the interwar period . His early works were strongly influenced by Debussy and Ravel , turning later towards neoclassiciam.Roussel will never attain the popularity of Debussy or Ravel, as his work lacks sensuous appeal….yet he was an important and compelling French composer. Upon repeated listening, his music becomes more and more intriguing because of its subtle rhythmic vitality. He can be alternately brilliant, astringent, tender, biting, dry, and humorous. His splendid Suite for Piano (Op. 14, 1911) shows his mastery of old dance forms. The ballet scores Le Festin de l’araignée(The Spider’s Feast Op. 17, 1913) and Bacchus et Ariane (Op. 43, 1931) are vibrant and pictorial, while the Third and Fourth Symphonies are among the finest contributions to the French symphony. His piano music includes : Des heures passent, Op. 1 (1898), Conte à la poupée (1904), Rustiques, Op. 5 (1906), Suite in F-sharp minor, Op. 14 (1910), Petite canon perpetuel (1913), Sonatine, Op. 16 (1914), Doute (1919), L’Accueil des Muses [in memoriam Debussy] (1920), Prelude and Fugue, Op. 46 (1932), Three Pieces, Op. 49 (1933)

Marie-Joseph Alexandre Déodat de Séverac  20 July 1872 – 24 March 1921) was a French composer born in the Haute-Garonne, descended from a noble family, profoundly influenced by the musical traditions of his native Languedoc. Séverac is noted for his vocal and choral music, which includes settings of verse in Occitan  (the historic language of Languedoc ) and Catalan  (the historic language of Roussillon) as well as French poems by Verlaine and Baudelaire. His compositions for solo piano have also won critical acclaim, and many of them were titled as pictorial evocations and published in the collections Chant de la terre, En Languedoc, and En vacances.

A popular example of his work is The Old Musical Box (“Où l’on entend une vieille boîte à musique”, from En vacances). His masterpiece, however, is the piano suite Cerdaña (written 1904–1911), filled with the local colour of Languedoc.

Jean-Henri d’Anglebert (baptised 1 April 1629 – 23 April 1691) was a French composer, harpsichordist and organist and was one of the foremost keyboard composers of his day.

D’Anglebert’s principal work is a collection of four harpsichord suites published in 1689 in Paris under the title Pièces de clavecin. The volume is dedicated to Marie Anne de Bourbon , a talented amateur harpsichordist who later studied under Couperin. Apart from its contents, which represents some of the finest achievements of the French harpsichord school (and shows, among other things, D’Anglebert’s thorough mastery of counterpoint and his substantial contribution to the genre of unmeasured prelude ), Pièces de clavecin is historically important on several other counts. The collection was beautifully engraved with utmost care, which set a new standard for music engraving. Furthermore, D’Anglebert’s table of ornaments is the most sophisticated before Couperin’s (which only appeared a quarter of a century later, in 1713). It formed the basis of J.S.Bach’s own table of ornaments (Bach copied D’Anglebert’s table ca. 1710), and provided a model for other composers, including Rameau. Finally, D’Anglebert’s original pieces are presented together with his arrangements of Lully’s orchestral works. D’Anglebert’s arrangements are, once again, some of the finest pieces in that genre, and show him experimenting with texture to achieve an orchestral sonority.

Most of D’Anglebert’s other pieces survive in two manuscripts, one of which contains, apart from the usual dances, harpsichord arrangements of lute pieces by composers such as Ennemond and Denis Gaultier, and René Mesangeau . They are unique pieces, for no such arrangements by other major French harpsichord composers are known. The second manuscript contains even more experimental pieces by D’Anglebert, in which he tried to invent a tablature-like notation for keyboard music to simplify the notation of style brisé textures.D’Anglebert died on 23 April 1691 and his only published work, Pièces de clavecin, appeared just two years before, in 1689. The rest of his music—mostly harpsichord works, but also five fugues and a quatuor for organ—survives in manuscripts.

The third visit to Tuscia University of a duo that plays as one with a programme of favourite works by Grieg,Tchaikowsky and Liszt . A husband and wife team with a family of two children and a growing activity in their home town of Grosseto.

Below you can read the two reviews of their previous concerts with many of the works played today.

They not only perform but help to enrich the lives of young musicians with their encouragement and expert training which they had both acquired at the International Piano Academy of Imola, where they had met. Their first CD of Tchaikowsky has been acclaimed by the critics and they have just released their second with the complete piano duet works by Erik Satie.

An opening with Grieg that from the very first notes of the Dances op 35 they showed their complete authority with an imposing opening of great rhythmic drive and urgency. Sumptuous rich sounds from the bass dissolving to a heartrending mellifluous outpouring of the innocent simplicity that was so much part of Grieg’s musical personality, bursting into the gleeful impish dance rhythms to end. A beguiling melody from Gala in the second dance was accompanied with insinuating rubato by Diego with an interruption of dynamic drive and exhilaration before the return of the opening haunting melody ever more teasingly beautiful. There was a capricious dance to the third played with a fleeting lightness and great sense of character as it built in intensity contrasting with the ravishing beauty of the central episode. A grandiose opening to the fourth with an almost too serious opening deep, in the bass, bursting into a rhythmic dance of question and answer between the players with a central episode of great intensity and beauty.

‘Solveigs’ song from Peer Gynt Suite op 55 opened with a solitary voice from Gala creating a magical atmosphere for one of Grieg’s most haunting melodies that opened out as it was ‘sung’ so sensitively by them both, with elaborations of subtle beauty.

They brought a radiance and flowing beauty to Grieg’s vision of daybreak at the opening of the suite op 46. It was followed by the poignant beauty and stillness of the slow moving chords perfectly coordinated for the ‘Death of Ase’. A brilliance to ‘Anitra’s dance’, with scintillating ornaments like tightly wound springs of jewel like subtlety. A menacing dance deep in the bass from Diego deep in ‘The Hall of the Mountain King’ gradually took flight with devilish trills from Gala as the air was ignited with ferocity and exhilaration.

Their interpretations of Tchaikowsky’s sumptuous ballet music are full of the colours of theatre. Excitement, exhilaration and with a palette of sounds that could create the eternal magic of Tchaikowsky’s best loved scores from ‘Swan Lake’,’The Sleeping Beauty’ and ‘Nutcracker.’ And after such a feast of music they chose Liszt’s transcendental second rhapsody to close their programme. An extraordinary sense of style and colour allied to a scintillating fearless bravura brought the concert to a brilliant end.

An encore of Brahms Hungarian Rhapsody n. 5 was played with gleeful mastery and was their way of thanking Viterbo for inviting them back for the third year in succession.

Grieg’s incidental music for Henrik Ibsen’s drama “Peer Gynt” contains some of his best-known compositions, such as “Morning mood” and “In the hall of the Mountain King”. Grieg later extracted the most beautiful pieces to form two orchestral suites and arranged himself these versions for piano solo and piano four-hands. Peer Gynt Suite no. 2 includes Solvejg’s Song op. 55,4. The decisive role that Norwegian folk music played for Edvard Grieg can be felt in almost all of his works. For his Norwegian Dances op 35, Grieg took old folk tunes from a collection published by the musician and researcher Ludvig Mathias Lindeman and arranged them for piano four hands in 1880. Peer Gynt Suite no. 1 op. 46 Morning Mood op. 46,1 
The Death of Ase op. 46,2 
Anitra’s Dance op. 46,3 
In the Hall of the Mountain King op. 46.

Franz Liszt was strongly influenced by the music heard in his youth, particularly Hungarian folk music, with its unique gypsy scale rhythmic spontaneity and direct, seductive expression. These elements would eventually play a significant role in Liszt’s compositions. Although this prolific composer’s works are highly varied in style, a relatively large part of his output is nationalistic in character, the Hungarian Rhapsodies being an ideal example.
Composed in 1847 and dedicated to Count Laszlo Teleki,the Hungarian Rhapsody No. 2 was first published as a piano solo in 1851 by Senff and Ricordi. Its immediate success and popularity on the concert stage lead to an orchestrated version, arranged (together with five other rhapsodies) in 1857–1860 by the composer in collaboration with Franz Doppler and published by Schuberth in 1874–1875. In addition to the orchestral version, the composer arranged a piano duet version in 1874, published by Schuberth the following year.the version that was played today was of Richard Kleinmichel/Franz Bendel.

Duo Degas – Chistiakova – Benocci in Viterbo- Excitement and Exhilaration of a duo who play as one in life and music.

Gala Chistiakova and Diego Benocci in Viterbo A duo that plays as one with beauty and style.

I remember Gordon Green and his wife both telling me of the extraordinary technical and intellectual capacity of Peter Donohoe to play some of the most strenuous works in the piano repertoire. I am talking about fifty years ago, before Peter went on to his success at the Tchaikovsky Competition in Moscow in 1982, which launched his international standing and was the start of a career that has spanned over forty years. His curiosity to delve deeply into the piano repertoire and find works that are not always readily accessible to lesser mortals has never left him, and it reminds me of John Ogdon who like Peter could fearlessly discover a world where others dare not tread.

Gordon Green had studied for a period with Egon Petri, a pupil of Busoni and it was here that his passion for the works of Busoni was born and which he transmitted to his many illustrious pupils.

Peter Donohoe had opened this marathon recital with a work that he openly declared was the Beethoven sonata nearest to his heart. Op 101 could be described as a Sonata ‘quasi fantasia’ with it’s beautiful opening that returns towards the end giving a pastoral shape to a Sonata that is really the calm before the storm of op 106, which was to follow after the interval. A beautiful opening of luminosity, and like everything Peter played, an architectural shape of masterly musical understanding. An outpouring of poignant meaning played with simplicity and knowing musicianship with a beautiful sense of legato and extraordinary mastery of balance. A tightly drawn ‘Vivace’ had a continual rhythmic pulsation but with a line of absolute clarity and a contrasting ‘Trio’ of pastoral fluidity before the return of the ‘Vivace’. He brought great weight to the ‘Adagio’ which was played with simplicity and disarming beauty. The ‘Allegro’ entered gently as the knotty twine became ever more entangled but always with absolute clarity, and it was here that his masterly use of the pedal became ever more evident. There was a beguiling duet between voices with their inquisitive question and answer and trills brilliantly incorporated into the musical line like tightly wound springs as the movement became ever more entwined and grandiose. There was a beautiful pastoral coda before being interrupted by Beethoven’s final triumphant outburst.

A performance that was classical in its overall approach but romantic in its actual musical language. Playing without the score because this was a work deeply ingrained in his heart and obviously an important part of his concert repertoire.

The Fantasia Contrappuntistica,on the other hand, is a rarity in the concert hall and Peter admitted that it had not convinced him until he performed it in the two piano version with Emanuil Ivanov ( present in the hall ). https://christopheraxworthymusiccommentary.com/2025/11/25/emanuil-ivanov-humility-simplicity-and-mastery-takes-st-marys-by-storm/

I think it is the first time I have heard the work in concert and it was indeed a formidable challenge that only a musician with a great intellect and endless curiosity could have undertaken. A fantasmagorical opening of grandeur and mystery. A continual outpouring of knotty twine of extreme intellectual importance and a ‘tour de force’ of resilience and above all musical intelligence. A truly grandiose ending, as Busoni is not one to leave the stage quietly! Busoni,of course, was well known for his long difficult programmes. In a period when pianists were titivating the senses, Busoni was delving deeply into the very meaning and future of music as his teacher Franz Liszt was to do in the last half of his life.

Mozart’s C minor Fantasy was where Peter combined simplicity, luminosity and drama with a beautiful sense of song where every note and every rest were played with disarming simplicity and great meaning. Sandwiched in-between the extreme intellectual complexity of Busoni and the dynamic drive of Beethoven it came as an oasis of simplicity where so few notes could mean so much.

One of the drawbacks of not being able to actually be in St Mary’s is that the wine so generously offered in the interval at the evening concerts, cannot be shared like the sounds on their superb streaming.

After the interval followed the longest and most difficult of all 32 Sonatas of Beethoven. Many pianists who are happy to perform cycles of the sonatas tremble at the thought of including the ‘Hammerklavier’. In four long movements with a slow movement that lasts over twenty minutes and a fugue that is so un-pianistic that it can only be undertaken by the most fearless of pianists who possess a virtuoso technical command of the keyboard.

It opens with a mighty fanfare and a treacherous leap, as this is a work where from the outset Beethoven shows us it is only for the fearless. Peter plays the first leap with one hand and the second with two which works very well as it shows fearlessness but not recklessness! A monumental performance of the ‘Allegro’, with of course the repeat of the exposition, and always with a driving undercurrent of energy that drove the music forward with clarity and luminosity.The opening of the development was bathed in pedal which contrasted so well with the clarity of the fugato that follows. Adding occasional deep bass notes, that Beethoven obviously intended, but did not have on the instruments of the day, it gave an aristocratic nobility to this most orchestral of opening movements. The ‘Scherzo’ was played with solidity rather than as a dance which contrasted well with the fluidity of the ‘Trio’.The ‘Adagio’ which is the very heart of this work was given a beautifully flowing tempo which did not exclude some exquisite moments, but always moving forward on a great wave of passionate intensity. All through this ‘Adagio’ there was a beauty of sound and a perfect sense of balance that allowed the melodic line to sing so naturally with a glowing luminosity of great poignancy. There was a rhythmic energy that gave strength to the architectural line where even the intricate embellishments were sustained by the inexorable inevitability of the bass. Peter made a very definite break between the ravishing end of this movement and before the improvised introduction to the mighty fugue that took flight with fearless virtuosity and dynamic drive. The difficulties just disappeared under Peter’s masterly hands as he drove the music forward to the final climax where he added even more notes to Beethoven’s mighty final chords. A monumental performance played with a musicianship where notes became just a means of expressing the impossible on an instrument that Beethoven had taken to its limit and beyond !

After such a marathon Peter wanted to play just one more fugue . It was the last fugue that Bach was to write and that he left unfinished at the end of his ‘Art of Fugue’ which had been the inspiration for Busoni’s Fantasia Contrappuntistica.

After nearly three hours of red hot music making the only way to calm the air was with the very first simple Prelude and Fugue in C major by Bach.

Memorable performances from a great pianist and unique thinking musician. Thanks to Dr Mather and his team it has been recorded and will act as a reference for the hundreds of pianists that will fill this redundant church with glorious music in the future.

Peter Donohoe was born in Manchester in 1953. He studied at Chetham’s School of Music for seven years, graduated in music at Leeds University, and went on to study at the Royal Northern College of Music with Derek Wyndham and then in Paris with Olivier Messiaen and Yvonne Loriod. He is acclaimed as one of the foremost pianists of our time, for his musicianship, stylistic versatility and commanding technique. 

In recent seasons Donohoe has appeared with Dresden Philharmonic Orchestra, BBC Philharmonic and Concert Orchestra, Cape Town Philharmonic Orchestra, St Petersburg Philharmonia, RTE National Symphony Orchestra, Belarusian State Symphony Orchestra, and City of Birmingham Symphony Orchestra. He has undertaken a UK tour with the Russian State Philharmonic Orchestra, as well as giving concerts in many South American and European countries, China, Hong Kong, South Korea, Russia, and USA. Other past and future engagements include performances of all three MacMillian piano concertos with the BBC Scottish Symphony Orchestra; a ‘marathon’ recital of Scriabin’s complete piano sonatas at Milton Court; an all-Mozart series at Perth Concert Hall; concertos with the Moscow State Philharmonic Orchestra, St Petersburg Symphony Orchestra and the London Philharmonic Orchestra at Royal Festival Hall; and a residency at the Buxton International Festival. 

Donohoe’s most recent discs include six volumes of Mozart Piano Sonatas with SOMM Records. Other recent recordings include Haydn Keyboard Works Volume 1 (Signum), Grieg Lyric Pieces Volume 1 (Chandos), Dora Pejacevic Piano Concerto (Chandos), Brahms and Schumann viola sonatas with Philip Dukes (Chandos), and Busoni: Elegies and Toccata (Chandos), which was nominatedfor BBC Music Magazine Award. Donohoe has performed with all the major London orchestras, as well as orchestras from across the world: the Royal Concertgebouw, Leipzig Gewandhaus, Munich Philharmonic, Swedish Radio, Orchestre Philharmonique de Radio France, Vienna Symphony and Czech Philharmonic Orchestras. He has also played with the Berliner Philharmoniker in Sir Simon Rattle’s opening concerts as Music Director.  He made his twenty-second appearance at the BBC Proms in 2012 and has appeared at many other festivals including six consecutive visits to the Edinburgh Festival, La Roque d’Anthéron in France, and at the Ruhr and Schleswig Holstein Festivals in Germany. 

The 23/24 season kicked off with Peter Donohoe performing as a soloist with the London Symphony Orchestra and Simon Rattle with four performances of Messiaen’s Turangalîla-Symphonie in London, Edinburgh, and Bucharest. In January 2024, Peter returned to Philadelphia for performance with the Ama Deus Ensemble and travelled to Dubai to adjudicate the 3rd Classic Piano Competition 2024. 

Peter Donohoe with courage and artistry ignites the Bechstein Hall

Busoni was not only one of the greatest pianists of his age but also a composer and theorist of daunting intellect. His three idols were Bach, Mozart and Liszt.The Fantasia contrappuntistica has at its heart a realization of the incomplete final fugue from Bach’s Art of Fugue but seen in terms of twentieth-century harmony. The fugal sections are preceded by a chorale arrangement and interspersed with an intermezzo and variations; Busoni then creates an entirely new fugue on four subjects which Bach is thought to have planned, though he did not live to carry it out. In this work Busoni hoped to create ‘one of the most significant works of modern piano literature’. If its daunting complexity both for pianist and listener never make it a standard of the repertoire, it is certainly one of the most imposing of piano works 

Brendel writes “the piece is a monumental fusion of thesis and antithesis, counterpoint and fantasy, Bach and Busoni, unexpected refinement of the piano sound and baroque independence from the means of sound—you will perhaps find a new sphere of instrumental art spread out before you.” In 1909, Busoni was working on a critical edition of Bach’s The Art of Fugue and he became fascinated with the last fugue, which Bach broke off at the entry of the fourth subject and abandoned the work at that point. Peter Donohoe suggested it might have been that he had brought the work to it’s ultimate state and he left it open for future composers to complete ,having pointed the way. Busoni consulted with the composer and theorist Bernhard Ziehn, who had published various theories for a modern approach to polyphony, in which “the symmetrical treatment of melodic lines gave rise to a wealth of new harmonies.”

Berhnard Ziehn was a German-born theorist based in Chicago, and he advocated the use of transpositions and inversions to combine Bach’s original line in an absolutely symmetrical way. The original intervals are preserved at all time, “with no regard for the very un-Bach-like harmonies that resulted. This way of working, of choosing apt combinations of lines from an almost unlimited realm of possibilities, rather than searching for combinations consistent with pre-existing rules of harmony,” immediately appealed to Busoni. He certainly had a complete and exhaustive command of traditional technique, but also realized the “inadequacy of such a technique for a contemporary composer.” As a biographer writes, “Busoni was perfectly conscious of his powers: he paid homage to the past by embracing it in the gigantic sweep of his intellect and he saluted the future through his consciousness of his own moral and intellectual superiority, a consciousness that was compatible with true dignity and humility.” In his Fantasia contrappuntistica, Busoni achieves a perfect synthesis of models from the past presented in a completely modern form.

In March 1910, Busoni completed his “Grosse Fuge,” which he described as “the most corseted of his compositions.” He writes to his wife, “Every note is spot on! Today is the first of March. I had planned to finish this monster fugue in February and I succeeded, but I won’t do it again!” Bach’s original fugue is built on three themes, but at the start of the third theme the manuscript is interrupted, and within its development, a fourth theme is introduced. Busoni identifies this fourth theme as the basic motif of the whole cycle. However, Busoni is not yet satisfied, and he created a fifth theme, which acts as a conclusion. Busoni assures his wife that he had been “working in the spirit of Bach,” but in the end he does not limit himself to these five fugues, “but further develops the piece through the addition of several other movements, so as to achieve, as he affirms, “the form of a grand fantasia.”Busoni prefaces his “Grosse Fuge” with his own variations on the Bach chorale “Allein Gott in der Höh sei er,” composed three years earlier. Breitkopf & Härtel explain the overall form of the work at the beginning of the published score: An “Introduzione” based on Bach’s chorale (Maestoso deciso, Allegro, Andantino) leads to the first three fugues on themes by Bach; an “Intermezzo,” which then leads to the “Variazioni” on the same fugues; then a cadenza leading into the fourth fugue. Before the final “Stretta” the Chorale reappears, with ‘dolcissimo’ chords in the high register of the keyboard.”

Published as the so-called “Edizione definitva” of the Fantasia contrappuntistica, the work nevertheless underwent a substantial number of revisions and versions. This includes an “Edizione minore” in 1912, basically a study edition with expanded but simplified fugal writing and different variations on the same chorale. Busoni had also planned to produce an orchestral version, but that project never materialized. Instead, on 6 August 1921, audiences were treated to a two-piano version, which integrates both sets of chorale variations and “clarifies but also abbreviates Bach’s underlying fugal arguments.” Regardless of version, Busoni created a work rooted in Bach and expanded with Lisztian textures, “that places him in a historical continuum, with a clear focus on the future.” According to critics, “it remains one of the most impressive works in the entire piano literature, a monumental undertaking that stretches the possibilities of composer, instrument, and performer to the limit.”
Busoni’s seven-volume Bach Edition includes not only performing editions and analyses of most of Bach’s keyboard works but also several contrapuntal studies, most of his own transcriptions and two versions of the immense Fantasia contrappuntistica. This life-long study and absorption was what led him in the first instance to the belief that a revival of the art of counterpoint might prove a guiding light to the future.

Bach’s The Art of Fugue, an uncompleted sequence of studies in fugal writing called Contrapuncti (‘his last and greatest work’, according to Busoni), is a compendium of contrapuntal skills at that summit of perfection to which the great master had taken them at the end of his life. Its final fugue, Contrapunctus XIV, was in Busoni’s words ‘planned on four fugue subjects, of which two are complete and the third commenced’. In the manuscript, a note thought to be in the hand of his son, Carl Philipp Emanuel, states that ‘At this point where the theme B–A–C–H becomes the countersubject, the composer died’, although some scholars believe that the work was abandoned at an earlier date. (In this recording this melancholy moment arrives at 2’05 in Fugue III.) In any event, a quadruple fugue is a fearsome event. In the first place the four themes must at some point combine, and the additional possibilities of interlocking countersubjects and their inversions become, as Busoni suggested, ‘as numerous as chess moves’. Conjecture as to the identity of the missing fourth subject was pursued by musicologists with the same fervour as mathematicians unravelling an unproven theorem. From his encounters with two German-born scholars then living in Chicago, Busoni was satisfied that the theme must be the opening subject of Contrapunctus I, which met all the requirements of compatibility and thus would ‘close the circle of the whole work’. He then set about completing Fugue III and composing Fugue IV, initially with a fairly vague idea of creating ‘something between a composition by C[ésar] Franck and the Hammerklavier Sonata’.

No sooner had his first version been published under the title Grosse Fuge, Busoni withdrew it and started work on the version heard in this recording, which he named Fantasia contrappuntistica, edizione definitiva. Later two further versions appeared: a simplified and abbreviated Versio minore and a version for two pianos.

Where Bach had been constrained by the laws of harmony as they then existed (though stretching them to the limit), Busoni decided that he should honour Bach’s genius while pursuing each line according to its own integrity and logic thus creating new and viable harmonies for his own time. ‘But new harmony could only arise naturally from the foundation of an extremely cultivated polyphony and establish a right for its appearance; this requires strict tuition and a considerable mastery of melody.’ And it is sometimes startling to discover that the most jarring moments have their origin not far away in Bach. A case in point is the tumultuous pile-up in the final Stretta which emanates from Contrapunctus VIII.Busoni devoted as much thought to the overall form as to the contrapuntal detail. He went so far as to add drawings to represent the architecture of his conception—a ship with five taut sails (‘moving over difficult waters’) superimposed on a cross (‘the form of a cathedral’) and a building whose doors represent the different ‘chapters’ of his narrative.

His most radical change from the Grosse Fuge (and an inspired one) was to begin the work with an evocative Prelude based on the ancient chorale ‘Allein Gott in der Höh sei Ehr’, not such a huge task since much of it existed already as one of his Elegies. In Fugues I, II and III, Busoni follows the plan of Contrapunctus XIV more or less exactly but adds his own voice in several ways, notably in the vastly extended compass and the chromatic modification of some voices to accord with his logical ‘modern’ vision of harmony, together with the insertion of references to a fifth theme of his own device which is first heard at the beginning of the piece. Another feature is the anchoring of Fugue I on a deep pedal D, causing it to emerge as if from a great depth, something we can observe in the distortions of old music ‘through a glass darkly’ of composers like Berio and Schnittke at the other end of the twentieth century. There follow an eerie Intermezzo (misticamente, visionario), three Variations of increasing complexity and a Cadenza before Fugue IV, which (of necessity) is entirely Busoni’s own composition. An ethereal reminiscence of the opening chorale presages the hectic Stretta before three imposing statements of the subject of Fugue I (two partial, one decisive) bring the huge edifice to a fittingly grand conclusion.

Sir Stephen Hough writes “I was really pleased to be sent this photo of my most important teacher, Gordon Green. He taught at both RNCM- Royal Northern College of Music and Royal Academy of Music. To one foreign student he said, as she graduated: “Now I want you to go home and forget everything I said”. We will always remember. “A teacher’s role is to become dispensable.” His indispensable advice inspires me to this day. “How you play now doesn’t interest me. Rather how you will play in ten years time,” wise words for a 15 year-old”

Some superb playing that we have had to wait five months to appreciate since Axel Trolese’s much awaited recital for the Pontine Festival was postponed due to an unexpected downpour in mid July!

A local lad from Aprilia found a full hall awaiting him in Latina ,the city that Mussolini founded, and is now in party mood for Christmas. A recently acquired Brodmann piano was in evidence today in this concert dedicated to Gianfranco Pitton who had done much to bring culture to his city. His wife was moved by the beautiful words of glowing appreciation that the Mayor expressed in her opening welcome presentation .

Axel I have known and admired for some time for his serious musicianship and impeccable preparation. He has been mentored by the great pianist, Louis Lortie, who even supervised his latest recording of Dante / Liszt together with another local lad from nearby Terracina, Luigi Carroccia.

A concert to celebrate the 150th anniversary of the birth of Maurice Ravel with the early ‘Rapsodie espagnole’ and finishing with the poignant reminder of the tragedy of the First World War. ‘Le Tombeau de Couperin’ was a reminder of the tragic annihilation of an entire generation and which Ravel dedicated to six of his friends who never returned from the war. The horrors of a war that he had experienced at first hand as an ambulance driver on the front line.

But Axel chose to start with the first of the important Sonatas by Beethoven where the composer had started his long journey in 32 steps to transform the Sonatas bequeathed to him by his teacher Papá Haydn into a true diary of his genial evolution.

Already in this second Sonata op 2 n.3 he is breaking away from his teacher with an Adagio of monumental proportions almost like a tone poem in its own right. With four substantial movements it was to be followed by op 7 and op 10.n.3 to make the break complete and establish, already, Beethoven’s extraordinarily individual genius.

Immediately from the first note Axel played with a dynamic rhythmic drive and a crystalline pianistic perfection that immediately held our undivided attention . He was able to transform this arresting opening into moments of refined beauty as Beethoven’s genial mellifluous invention would suddenly appear on the crest of this wave of energy. Like a ray of sunlight as the clouds cleared with moments of refined delicacy and exquisite phrasing . Axel never loosing the burning energy that was always present as an undercurrent driving the music forward .

An ‘Adagio’ of glowing radiance and poignant beauty where the rests became of such importance and spoke as eloquently as the notes. Dramatic contrasts in the central episode were played with nobility and a sumptuous palette of sounds from the barely whispered to aristocratic declamations.

A crystalline clarity to the ‘Scherzo’ that contrasted so well with the waves of notes of the ‘Trio’ before the whispered ending on the return of the scherzo.

An ‘Allegro assai’ that was full of pastoral charm and grace but also of scintillating brilliance and masterly control.

After a short break Axel brought us the magic world of Ravel. His enormous palette of sounds allowed him to paint Ravel’s pictures in sound with the precision and crystalline brilliance that was the very essence of his intricate mastery.

‘Rapsodie espagnole’ originally for two pianos lost nothing in Garban’s transcription for solo piano. A languid atmospheric sound world with hypnotic repetitions before outbursts of sumptuous rich sounds. Beguiling dance rhythms were played with poetic beauty as washes of sound spread over the entire keyboard with exhilaration and burning excitement.

‘Le Tombeau de Couperin’ are six short pieces crafted with clockwork precision and that found in Axel an ideal interpreter. His clarity and rhythmic brilliance were allied to a jewel like palette of sounds of a pointillist painter, where the multicoloured sounds united to create a musical canvas of ravishing undulating shades of refined beauty.

The opening Prélude was of such whispered intricacy that an unexpected missing note was easily accommodated by this brilliant young musician who continued to play with fleeting brilliance.

A whispered fugue where Axel’s masterly control could give such shape and musical significance without ever loosing the rhythmic drive or sacrificing the absolute clarity of this knotty twine. The ‘Forlane’ sprang to life like a ‘Jack in the box’ but with refined beauty and a beguiling dance rhythm of delicacy and nostalgia. The ‘Rigaudon’ burst onto the scene with dynamic drive and a capricious ‘joie de vivre’ but there was also the ravishing subtle beauty of the central episode floating over a moving bass with a jewel like moment of sublime melodic doubling before the final eruptions. He brought a simplicity and delicacy to the ‘Menuet’ with its whispered final vibrant chord . The final ‘Toccata’ was a ‘tour de force’ not only of transcendental piano playing , because this was only a means to express the musical content with poetic beauty alternating with overwhelming exhilaration. Greeted by a standing ovation from an unexpectedly full hall Axel offered an encore of the ‘Notturno’ by Ottorino Respighi whose name honours the Conservatory in Latina .

A very early work and one of his six pieces,written between 1903 and 1905, was played with shimmering beauty and the passionate commitment which had been the hallmark of this remarkable recital.

The president Elisa Cerocchi like her mother and father just a few years back is ever present to bring culture to this region aided by the indomitable Tiziana Cherubini. They were both glad to see a full house today despite the pre Christmas celebrations bursting out all around !

Mario Caroli and Pietro Ceresini ‘On Wings of song’ dedicated to Maria Teresa Cerocchi

Axel Trolese at Bechstein Hall ‘Mastery and intelligence of a remarkable artist’

Axel Trolese – A Spanish Rhapsody – Passion and seduction of a virtuoso in Frascati

Axel Trolese illuminates Liszt’s Erard with supreme artistry and passion in Velletri’s Convento del Carmine

A clean sweep for Andras Schiff in Rome with a marathon concert where music spoke louder than words.

And what Music !

Starting with the Aria from the Goldberg and finishing three hours later with Schubert’s G flat Impromptu having ‘demolished ‘ or more correctly ‘relished’ twelve works mostly of Bach.

A wondrous FABBRINI Steinway with the 90 year old magician in the hall to reassure Schiff of the very best instrument that would allow him to turn the notes of the masters into wondrous luminous sounds of whispered beauty.

https://christopheraxworthymusiccommentary.com/2024/12/12/martha-argerich-the-queen-of-the-keyboard-salutes-angelo-fabbrini-the-prince-of-the-piano/

Sonatas followed by Mozart : K 570 in B flat and Haydn :Hob XVI : 44 in G minor.It was the simple beauty of Mozart distilled in his last piano sonata where Schnabel was to say Mozart’s music was too easy for children but too difficult for adults. Andras Schiff with humility and mastery was able to tread this line to absolute perfection. In the two movement G minor Sonata the genius of Haydn was revealed to us in all its refined intricacy as Richter was to show us, with this very sonata ,in the ’60’s on his first appearances in the West. Let us not forget ,though, the little Gigue by Mozart which was imbued today with a dynamic drive of subtle accents that brought a smile to our face, reminding us that Mozart like Haydn also had a sense of humour and all the world was a stage! After masterly performances of Bach’s Chromatic Fantasy, Italian concerto ,Fifth French suite and Capriccio it was time to change voice.

A very particular Viennese voice that only the Bösendorfer could provide and that was wheeled on in the interval .

This was after a first half of 90 minutes that had passed in complete,marvelled silence.

Now a shorter second half with Beethoven’ s last work for piano : the Bagatelles op 126 followed by Schubert’s Drei Klavierstücke.Three movements all under a cloud of wondrous sounds that united them as one. Not the usual fast slow fast of three separate movements but one glorious whole with the same voice of ravishing beauty. I had never been aware today of how short the work can seem.

Beethoven’s last work for piano, the six bagatelles op 126 ,where the composer had distilled sounds, like Mozart, to a bare framework adding colour through long pedals or the same wisps of sound on which fragments are floated like in his last Sonata op 111, as they are interrupted with the impatience of the final burst of energy Beethoven was to reveal.

A final glorious farewell with Schubert’s magical G flat impromptu floated into the midnight air as many now had lost their last buses home.

It was the absolute simplicity of his music making that held the audience in a silence that I have rarely noticed in Rome especially in the winter season. No need to admonish the audience that was present in great numbers today as they were able to enjoy such a journey of discovery and simple beauty.

There was never a moment of boredom where a cough or two might take away the tedium.

This was because the music spoke with the inflections of the human voice in a musical conversation where there were no mere notes and where Nadia Boulanger’s constant reminder was ever present : ‘Words without thought, no more to heaven go’ ( Shakespeare 12th Night). Performances where balance and touch were used to bring contrasts where other interpreters use muscle and projection. Schiff drew us in to a world of such disarming simplicity and was able to suggest contrast not by playing louder but by revealing the bass or inner counterpoints that could give the impression of another voice in the orchestra that he was revealing with his ten fingers.

His playing reminds me of the Indian summer of Wilhelm Kempff or Radu Lupu where through Matthay like sensitivity (infinite gradations of sound in each note) and a refined sense of balance, together with an intelligence and poetic soul, they could convince us that this box of hammers and strings could sing better than any singer. It could become an orchestra worthy of the greatest ensembles and in fact the Piano is an instrument for all seasons and styles. As Graham Johnson said to me when I asked him how he was allowed by singers to leave the piano lid open; with a knowing smile he simply said because they know I can drive!

Andras flying away on his magic carpet to surprise and delight his fellow Florentines on Saturday with another concert where at the drop of his hat he will find even more wonders to share with us on his miraculous voyage of discovery .

The Art of Andras Schiff Bach before the Mast

Andras Schiff ‘Miracles at the Wigmore Hall ‘

Sir Andras Schiff – Beethoven Trilogy at the Proms- The Genius of Man

Lecce the Florence of the South, a land kissed by the Gods and which has produced some of the finest musicians of our time. One of these is without doubt Scipione Sangiovanni who I had heard many years ago when he won the Gold medal at the Monza International Competition. He performed the Liszt second concerto that had not particularly impressed me as a jury member but then as an encore he played a simple Scarlatti sonata which was of such jewel like perfection that I was completely won over.

I have now been able to hear him after quite a few years thanks to Roma 3 offering a platform to young musicians at the start of their career.

It is through these performances that I have come to understand and be overwhelmed by the mastery and intelligent scholarship of such an eclectic musician . Scipione does not fit into any category as his playing is unique in that he only plays as Rubinstein says :’the music he loves and that speaks to him’.

https://youtu.be/gex0sOR7XZ0?si=rSS9wtFMjWBoaw9r

A kapellmeister who can improvise and embellish without ever loosing sight of the overall shape and real meaning behind the notes that he plays with breathtaking mastery.

A voyage of discovery that knows no boundaries as de Bornelh lives happily with Thelonious Monk, Cole Porter with Scriabin , Haendel with Bach Busoni (Sangiovanni) or Vivaldi with Carl Orff.

A strange haunting opening with bass notes adding even more resonance to this plaintiff chant of de Bornnelh, that was to end in a whisper as Thelonious Monk was allowed to enter at ‘Round Midnight’ .

Giraut de Bornelh ( 1138 – 1215), was a troubadour connected to the castle of the viscount of Limoges . He is credited with the formalisation, if not the invention, of the “light” style, or tribal leu and was one of the most popular troubadours of his day. Giraut’s reputation endured throughout the 13th century, when he was known as the Master of the Troubadours. Dante placed him in Paradise  as a poeta rectitudinis,Petrach   called him “master of the troubadours”. Though rebarbative to modern taste when they adopt the high moral tone that recommended them to Dante, Giraut’s songs are not devoid of lyricism  or humour. Giraut de Bornelh was formally inventive and composed in a variety of genres: cansos,sirventes,pastorelas and tensos. About ninety of his poems and four of his melodies survive; these were held in high esteem in the 13th century. 

The Haendel lead into the monumental Bach Chaconne for solo violin but recreated on the piano by Busoni. Scipione brought a chiselled beauty, pin pointing inner harmonies on a true voyage of rediscovery. There was a certain improvised freedom as pauses were prolonged and with his extraordinary sense of balance, colours suddenly appeared nowhere more than in the long ‘violin solo’ at the centre of the work. It lead to the enormous exultation and mighty climax where Scipione could extract sumptuous rich sounds never of hardness but of vibrant illuminated radiance. Suddenly out of this mist the final appearance of the opening theme played quietly just as in the Goldberg variations, where Bach gives us a final vision at the end of a long tormented life. A remarkable revisitation and rethinking of an established classic that was just one of the revelations of this unique thinking musician. After many other fascinating things in Scriabin ,Cole Porter or Tourdion there followed capricious ever more brilliant variations of Vivaldi on La Follia with a continuous outpouring of ever more rhythmically driven improvised elaborations. After the exquisite radiant beauty of Gluck we were thrown into the sinister world of Carl Orff’s ‘O Fortuna’. It was originally a Medieval Latin Goliardic poem which is part of the collection known as the Carmina Burana, written in the early 13th century, is a complaint about Fortuna, the inexorable fate that rules both gods and mortals in Roman mythology .

In 1935–36, “O Fortuna” was set to music by Carlo Orff   as a part of “Fortuna Imperatrix Mundi”, the opening and closing movement of his cantata Carmina Burana . It was first staged by the Frankfurt Opera  on June 8, 1937.

An encore that could combine the cadenza of Prokofiev second concerto with many things in a truly breathtaking exhibition of improvised musicianship and poetic fantasy.

Scriabin’s unashamedly romantic study in C sharp minor was played with a ravishing palette of sounds and daring that I have only heard from Horowitz. Sgambati’s wondrous arrangement of Gluck was played with distilled beauty and the seemingly improvised freedom of sound that made it so much part of Nelson Freire’s unforgettable artistry.

https://christopheraxworthymusiccommentary.com/2021/11/02/nelson-freire-rip/

Adding such personal freedom to Busoni’s recreation of Bach’s mighty Chaconne could have destroyed the very tight construction if it had not been done with masterly musical intent ‘not to destroy but to praise’.

I had to leave in order to get to Schiff ‘s concert just around the corner but I left with a heavy but uplifted heart as Scipione intoned Busoni’s most magical transcription of the Bach Chorale:’Ich ruf zu dir, Herr’.

A mastery that fears no boundaries and reminds me of the equally unique artistry of Friedrich Gulda where improvisation, jazz or classical with a mastery of colour and playing of spontaneous refined good taste all go under the title of MUSIC making of vibrant spontaneity.

Scipione Sangiovanni at the Accademia Danimarca – Mastery at Roma 3 for a Man of all Seasons

I have known Luke’s playing for many years and heard all about him from Carlo Grante when he travelled to Italy as a teenager to study with him in Calabria .By chance I was even at his graduation recital and will never forget the brilliance, allied to a musical understanding of the notoriously complex Brahms Paganini Variations https://christopheraxworthymusiccommentary.com/2018/06/24/luke-jones-at-the-rncm-manchester/

Returning to St Mary’s to try out some new repertoire ,to have a recording of the performance which can be an invaluable help to delve even deeper into the mysteries hidden on the printed page. Luke is now a mature artist and already with many demands on his time in Warrington where he now resides, and is a much sought after teacher. Struggling with British Rail he only managed to arrive in Perivale ten minutes before the concert for a first public performance of what Fou Ts’ong used to call Chopin’s preludes – 24 problems.

True artistic pedigree will always shine through even in the most trying of circumstances, knowing that the moment you actually reach the instrument any other difficulties melt into insignificance. A voyage of discovery as the hands touch the keys and delve deeply to find secrets, that may have taken hours and months of preparation, but that shared with an audience take on another meaning as one listens with even more intensity ready to take paths that in the lonely studio were not always evident.

And so after a voyage of unexpected delays and difficulties from Warrington to London, Luke arrived at his more personal voyage of discovery in Perivale with two master works by Debussy and Chopin. Debussy was very much influenced by Chopin especially in his early works and even edited Chopin’s works which he would have known quite intimately.

The ‘Suite Bergamasque’ is an early work from which ‘Clair de lune’ has become one of those pieces that used to sit on the piano stand, together with ‘Liebestraum’ and the ‘Moonlight’ Sonata, when the piano stood proudly in every parlour, before being ousted by the TV! A ‘Prelude’ that immediately showed Luke’s beautiful sense of balance with a capacious sense of style of glowing crystalline clarity. Scales that were transformed into streams of sounds of great purity seeming like magical glissandi – that he was to offer with impish glee at the end of the ‘Minuet’ as the ‘Prelude’ was finished in aristocratic grandeur. The ‘Minuet’ was ready to enter with beguiling subtle phrasing of tantalising insinuation that was gently transformed into a sumptuous melodic outpouring. It was played with refined good taste with the impish final glissando played pianissimo with a single farewell note barely suggested deep in the bass with nonchalant saviour faire. ‘Clair de lune’ was given a very refined palette of colours and a phrasing created by the very natural arm movements especially in the flowing central episode ( often not included in the popular simplified editions just as the ‘Moonlight’ Sonata would appear as a single movement !). It was in this flowing central episode where Luke’s playing was of radiance and purity never clouded by the pedal. The final appearance of the opening on gentle streams of sounds created a magic where any thoughts of world weary travels were completely forgotten as a wondrous world of whispered sounds was created together with the unknowing complicity of the live audience, and the hidden one like me listening to such marvels in Rome. ‘Passepied’ was played with great delicacy and luminosity always with his crystalline touch of great beauty and a sense of balance that allowed the left hand to accompany the marvels being carved out in the right.

We were now ready for the Chopin Preludes which are a monument of the romantic piano repertoire. Chopin too carved out many of these Preludes in the most trying of circumstances whilst passing a ‘mild’ winter in a wind swept monastery in Valdemossa on the Island of Majorca.The citizens trying to get rid of a guest with tuberculosis before he infected the whole island. These were truly trying circumstances that put into perspective the inconveniences that Luke had suffered today! The improvised opening was played with simplicity and clarity leading into the brooding second with its long phrases shaped with poignant beauty. There was a remarkable clarity to the streams of notes of the third that accompanied a melodic line of legato notes shaped with knowing beauty. The heart beating left hand of the fourth accompanied the piercing cantabile as it soared overhead, greeted by pauses pregnant with meaning as the fifth entered with a gently meandering of undulating sounds. Luke carved the long lines of the bass in the sixth with gentle sighs accompanying from above. There was a glowing simplicity to the shortest of all the Preludes as the passionate outpouring of streams of notes of the eighth filled the keyboard with aristocratic control and refined brilliance.I have rarely heard the ninth played with such simplicity , from the very first note a sumptuous cantabile and a remarkable sense of line reaching a passionate climax of rich full sounds. There was scintillating jeux perlé and teasing brilliance to the tenth passing through the eleventh to the demonic tempestuous undulations ending of the twelfth finding an unexpectedly beautiful legato before the final two strident chords. The thirteenth is one of Chopin’s most beautiful bel canto creations, and Luke’s superb sense of balance allowed the melodic line to sing with the same glowing beauty as the human voice to which he added a wonderfully atmospheric ending. The whispered menace of the fourteenth prepared us for the radiant beauty of the ‘Raindrop’ prelude that Luke played with heartrending beauty, bringing a clarity of line to the brooding central episode that made the return of the’Raindrops’ even more significant.

The sixteenth is a ‘tour de force’ for any pianist, which Luke threw himself into with masterly control. Even a momentary hiccup in the left hand was totally ignored and of no significance as his breathtaking bravura and mastery was quite overwhelming. Not even a glance at this ‘aide memoire’ was possible, as my old teacher Perlemuter showed us when the lights blew ( it was the intransigent Heath period of strikes) as he was playing it at the Royal Academy for us students. Luke brought a flowing beauty to the seventeenth with its long lines that he floated with glowing beauty on the deep bass A flats that were the anchor on which it sailed. The cadenza of the eigteenth slipped in almost unnoticed until it built up in passion and brilliance to a virtuosistic ending. Luke’s large hands conquered the hidden difficulties of one of most difficult of all the preludes, and make it sound as simple as an Aeolian Harp which it most certainly is not! A perfect sense of balance and control to the famous C minor Prelude ,used as the theme for variations by Rachmaninov and Mompou, allowing it to unfold in layers of ever more whispered majesty. The next one just flowed out of the final chord with a flowing poignant beauty leading to the mellifluous brilliance of the left hand octaves of the twenty second. The twenty third was played with the same crystalline beauty and simplicity with which Luke had opened these preludes except the final questioning ‘blue’ note lead us into the tempestuous final Prelude – almost Revolutionary style – with which Luke brought these twenty four problems to a brilliant and passionate conclusion on the final three ‘D’s’ deep in the depths of the piano.

No encore was expected or offered after such a ‘tour de force’. I expect Luke was now getting back to the real world mode , and the battle with British Rail about to recommence, after this oasis of beauty and mastery that he had share with us today.

Luke Jones is a Welsh pianist from Wrexham, North Wales. He began playing the piano at the age of five and gave his first public recital at Oriel Wrecsam at the age of ten. Since then, Luke has performed across the UK in venues such as Bridgewater Hall (Manchester), St. David’s Hall (Cardiff), Symphony Hall (Birmingham), and internationally in France, Italy, Luxembourg, Austria, Japan and Spain.

Luke has been awarded prizes in several prominent piano competitions, including the 2 nd Prize and Mompou Prize at the Maria Canals International Piano Competition and 1st Prize at the Bromsgrove International Musicians Competition. He also received the RNCM Gold Medal, the highest award for performance at the Royal Northern College of Music. His performances have been featured on BBC Wales Radio, S4C Television, and Radio Vaticana. 

Luke has performed as a soloist with orchestras such as the BBC National Orchestra of Wales, the City of Birmingham Symphony Orchestra, and Manchester Camerata. His early education included studies with Eva Warren and Andrew Wilde, before he attended Chetham’s School of Music, where he studied under Murray McLachlan. He later continued his training with Carlo Grante in Italy and Dina Parakhina at the RNCM, where he earned a First Class Bachelor’s degree and a Master’s degree with Distinction. In addition to performing, Luke is passionate about education. He teaches at St. Ambrose Catholic College and Rossall School, and also runs a thriving private teaching practice. Luke is a Kawai Artist and an honorary ambassador for the Bromsgrove International Musicians Competition. 

Luke Jones for Cranleigh Arts Simplicity,Intelligence and virtuosity

Luke Jones at St Mary’s The virtuosity and style of a true poet of the keyboard.

From phenomenal child prodigy to becoming a refined seeker of sounds, the path must have been long and arduous. This 23 year old artist had performed at the Società Filarmonica when he was only fourteen and was known for his superb early training and enviable technical prowess .

Today we heard a different pianist where technical mastery was at the complete service of an intelligent musical fantasy and with a palette of colours of extraordinary originality. An eclectic programme where some works were born out of others in this artist’s musical world that seems to know no frontiers.

A change to the second half in an already eclectic programme, brought us Janáček and Liszt instead of Prokofiev, Stravinsky and Lourié. As this young man shared his very particular sound world with us one could understand more fully the change as we could see the path he was following. He took us on a wondrous voyage of discovery together, into a sound world where the final notes of Janáčeck became the very mist out of which Liszt’s Funérailles could emerge as we have never been aware of before. A mist that opened and closed this great tone poem within which Liszt manages to encapsulate so many different moods and atmospheres in the same way that Janáček could show us a whole harrowing world, of searing originality, in such a short space of time. Poetry and real technical mastery were used by this young man to reveal the very soul of the notes that were pouring from his fingers with a palette of emotions and an extraordinary range of orchestral colours.

Malofeev having been endowed from a very early age with an extraordinary ‘fingerfertigkeit’ has now discovered in these well trained fingers that he has an orchestra in his hands, but more importantly he has a very deeply rooted poetic soul. Of course sounds speak louder than words, but also to see the desperate look on his face as he too is moved by the discovery that audience and pianist are making together. His artistry reminds me of the extraordinary physical beauty of Arcadi Volodos where his whole body shapes the magical sounds that he, like a painter before his canvas, is describing with natural horizontal movements like riding on a big wave of sound. An almost improvised freedom that makes one feel that we are on a voyage of discovery together as music become louder than words and can express things that are too deeply locked inside us to be describe with the black and white precision of mundane words.

The concert had begun with Sibelius’s poetic description of ‘Trees’. There was immediately a beauty and melancholy with a whispered searching for sounds with the Scriabinesque counterpoints of ‘The Lonely Pine’ with its atmospheric pedal effects and pompous ending. Simple folk songs of ‘The Aspen’ and ‘The Birch’ were played with fluidity and an improvised freedom. The final Spruce was a languid ‘salon’ outpouring that took us straight from Finland to that other great expanse of Norway, that Grieg was able to capture with the same disarming simplicity as Sibelius. We suddenly discovered that the Holberg suite had been born out of these atmospheric sounds as the ‘Praeludium’ was heard with whispered shimmering sounds that were notes of crystalline clarity of disarming simplicity and naivety mixed with grandeur.

All through this recital the pedal became the real soul of the piano (to quote Anton Rubinstein) as it allowed for a subtle sense of touch and for notes that became clouds of sound. It was very noticeable too his use of the ‘soft’ pedal, playing ‘loudly’ to create yet another effect, or instrument in the orchestra, that this young artist had in his hands. Both Perlemuter and Arrau were masters of finding this extra colour which could give the music an unexpected extra dimension. Fazil Say does similarly, by placing a hand over the strings to produce a dull ‘oud’ like sound. These are all masters of sound where rules do not apply. Richter was the greatest example of that. There is no right or wrong way, ‘Convince Me ‘ a famous actor told a young inexperienced actress ( actually Sergio Tofano with my wife,Ileana Ghione, auditioning for the Silvio D’Amico Academy in Rome).

The ‘Sarabande’ where the ornaments added such subtle beauty of yearning with their poignant sighs. The ‘Gavotte’ was played with lightness and a real sense of dance with the etherial drone like long held pedal of the ‘Musette’ before the return of the spritely ‘Gavotte.’ The piercing beauty of the ‘Air’ gave it an extraordinary poignant purity and radiance with Malofeev’s wrist below the keys as his limpet touch extracted a glistening beauty from each chiselled note.The melody passing to the tenor voice where the right hand was allowed to sigh, like the light on a prism, in this wondrous land that Grieg describes with heartrending potency. The ‘Rigaudon’ burst onto the scene with a lightness of jeux perlé of beguiling subtlety, as suddenly the clouds were lifted and the glory of the sun was allowed to shine with brilliance and Tchaikovskian fervour.

The ‘Fire Sermon’ by another Scandanevian composer, Rautavaara, burst onto the scene with troubled menace. Agitated sounds deep in the bass were played with a dynamic drive as a melody with difficulty appeared, bathed in pedal with cascades of notes spread over the entire keyboard with fearless mastery. A transcendental control and mastery with great chords punched with violence into the keys but then allowed to reverberate out of which emerged whispered sounds of searingly painful contrasts. A palette of sounds but always a musicianly sense of line even though using his arms ( did not Charles Ives do the same a century earlier) where mere fingers were not enough for the great cluster of sounds that this deeply troubled composer needed to express. An ‘Andante’ of languid beauty allowed a brief respite before the ‘Allegro brutale’ whose very title needs no description from me.

Janáčeck’s extraordinarily modern sound world found in Malofeev the ideal interpreter. A mysterious world with washes of colours of unearthly beauty interrupted by cries in the dark and a leit motif that pervades this whole extraordinarily modern work and gives it a strangely melancholic feel of great originality.

Leading straight into ‘Funérailles’ where the range of Malofeev’s sound was quite extraordinary ,barely whispered sounds contrasted with the most enormous outbursts that I imagine this hall has ever experienced. A cavalry where Malofeev’s considerable technical mastery passed unnoticed such was the poetic significance of the legions racing across the field with the bugle calls barely able to be heard over the sound of hooves racing to their triumphant glory.

The four Scriabin Preludes op 22 were but a poetic preparation for the Fantasia that they were transformed into. A brooding scintillating display of ravishing beauty and passionate abandon played with absolute mastery by this poet of the keyboard.

A true triumph for a young master who has returned as a mature artist and was happy to offer four encores to this very full hall of convinced listeners.

Scriabin and Handel were crowned with an extraordinarily original performance of THE Prelude by Rachmaninov. This was the synthesis of all we had experienced during the recital with a work so well known but reborn on a wave of sounds that I doubt even Rachmaninov could have imagined possible.

The twenty-three-year-old Russian pianist Alexander Malofeev, winner of the 2014 Tchaikovsky Prize, returns to the Philharmonic six years after his memorable debut concert in Trento. Since then, Malofeev has rapidly become one of the most renowned pianists of his generation. His performances, characterized by technical precision, incredible maturity, crystalline sound, and perfect balance, have garnered high critical praise, with publications such as Der Standard calling his debut at the Vienna Musikverein “a global piano revolution.” Serving an impeccable sensibility, also surprising for the firmness of his program musical choices, Malofeev weaves a fine silk, with a dazzling finish that reveals a subtle, channeled urgency and seems to encompass the entire nature of his playing.

“The latest phenomenon of the Russian piano school” (Corriere della Sera),
“Alexander Malofeev manifests the piano mastery of the new millennium in itself” (Il Giornale)

The young “Russian genius” (Corriere della Sera) came to international prominence when, in 2014, he won the International Tchaikovsky Competition for Young Musicians at age thirteen. “Contrary to what could be expected of a youngster …, he demonstrated not only high technical accuracy but also an incredible maturity. Crystal clear sounds and perfect balance revealed his exceptional ability” (Amadeus). Malofeev has quickly established himself as one of the most prominent pianists of his generation. His performances have garnered high praise from critics, with publications such as Der Standard declaring his debut at the Musikverein as “a world piano revolution”.

For the 2023-2024 season, highlights include Malofeev’s return to the Bournemouth Symphony for a multi-concert residency, solo tour in China, and European tour with Filarmonica della Scala and Riccardo Chailly, as well as performances at the Amsterdam Concertgebouw, Munich Isarphilharmonie, Elbphilharmonie in Hamburg and Carnegie Hall in New York, continuing to perform with the best orchestras: National Symphony Orchestra, Lucerne Festival Orchestra, Frankfurt Radio Orchestra, Netherlands Radio Philharmonic Orchestra under Kent Nagano and Orchestre de la Suisse Romande under Marin Alsop and many others.

Maestro Riccardo Chailly said about the pianist: “I first heard Malofeev when Valery Gergiev performed with him at the Teatro alla Scala three years ago. He was only 14, and he amazed me with his talent. Because that is not just a child prodigy: he is very young, but already possesses depth and technical abilities, and also musical and mnemonic, which makes him an excellent interpreter of the 3rd Concerto of Rachmaninov, which is a problem for many pianists in the world.” (Corriere della Sera) Alexander was born in Moscow in October 2001. Now residing in Berlin, he continues to give concerts in Concertgebouw (Amsterdam), where he opened the 30th anniversary concert of the renowned Meester Pianists series, Carnegie Hall (New York), Teatro alla Scala (Milan), Musikverein Wien, Kurhaus Wiesbaden (Germany), Alte Oper Frankfurt (Germany), Munich Herkulessaal (Germany), Tanglewood (USA), Philharmonie de Paris, Philharmonie Luxembourg, Theater of the Champs-Elysees (France), Auditorium Parco della Musica in Roma and Teatro Petruzzelli in Bari (Italy), Queensland Performing Arts Centre (Australia), Davies Symphony Hall in San Francisco, Bunka Kaikan Theatre in Tokyo, Seoul Art Center, Shanghai Oriental Art Center, National Centre for the Performing Arts (Beijing), Royal Opera House Muscat in Oman.

Over the years, he has performed with renowned orchestras such as the Philadelphia Orchestra, Boston Symphony Orchestra, Orchestra of the National Academy of Santa Cecilia, Frankfurt Radio Symphony Orchestra, Lucerne Festival Orchestra, Orchestra Filarmonica della Scala, RAI National Symphony Orchestra, Korean Symphony Orchestra, the Verbier Festival Orchestra, Orchestre National de Lille and many others

Alexander Malofeev regularly appears with the most distinguished conductors on a stage today, including Riccardo Chailly, Mikhail Pletnev, Myung-Whun Chung, Charles Dutoit, Michael Tilson Thomas, Jo Ann Falletta, Alain Altinoglu, Susanna Mälkki, Yannick Nézet-Séguin, Lionel Bringuier, Alondra de la Parra, Kazuki Yamada, Vasily Petrenko, Juraj Valcuha, Kirill Karabits, Andris Poga, Fabio Luisi and others. 

Malofeev was a guest of world famous music festivals and series such as Verbier Festival, International de Piano de La Roque d’Anthéron Festival, Rheingau Music Festival (Germany), Tanglewood Music Festival and Aspen Music Festival (USA), Tsinandali Festival (Georgia), Master Pianist Series (Amsterdam) and Celebrity Series of Boston. 

In addition to his 1st prize at the Tchaikovsky Competition for Young Musicians, he has won numerous awards and prizes at international competitions and festivals, including the Grand Prix of the I International Competition for Young Pianists Grand Piano Competition, the Premio Giovane Talento Musicale dell’anno 2017 (Best Young Musician of 2017). Also in 2017, Alexander became the first Young Yamaha Artist.

Jean Sibelius 8 December 1865 – 20 September 1957 Finland

The Five Pieces op. 75, is a collection of compositions for piano written in 1914 . The Five Pieces, however, is more commonly referred to by its informal nickname The Trees due to the fact that the descriptive titles of the five pieces share a thematic link.

No. 1: When the Rowan Blossoms

When the Rowan Blossoms (Swedish: När rönnan blommar; in Finnish: Kun pihlaja kukkii) was published in 1921 by the London-based firm of Augener & Co. Marked Allegretto, it has a duration of about two minutes.

No. 2: The Solitary Fir Tree

The Solitary Fir Tree (in Swedish: Den ensamma furan; in Finnish: Yksinainen honka) was published in 1921 by London’s J. & W. Chester. Marked Grave, it has a duration of about two minutes.

No. 3: The Aspen

The Aspen (in Swedish: Aspen; in Finnish: Haapa) was published in 1922 by Edition Wilhelm Hansen in Copenhagen. Marked Andantino.

No. 4: The Birch

The Birch (in Swedish: Björken; in Finnish: Koivu) was also published in 1922 by Hansen. Marked Allegro – Misterioso.

No. 5: The Spruce

The Spruce (in Swedish: Granen; in Finnish: Kuusi) was also published in 1922 by Hansen, after Sibelius had revised the piece in 1919. Marked Stretto – Lento – Risoluto – Lento.

In 1884 Grieg composed a suite in Baroque style on the occasion of the 200th birthday of the poet Ludvig Holberg (1684–1754) who was very well-known in Norway. Taking inspiration from Holberg’s time there are dances and forms from Baroque music here – Präludium, Sarabande, Gavotte, Air and Rigaudon. But they are combined with the melodic and harmonic language of the 19th century, and with Grieg’s characteristic compositional style. In this way the music achieves the charming mix that is the reason for its popularity. Even though the string orchestra version is better known today, Grieg first wrote the work for piano.It exemplifies nineteenth-century music which makes use of musical styles and forms from the preceding century. Although not as famous as Grieg’s incidental music from Peer Gynt, which is itself usually performed as arranged in a pair of suites, many critics regard the works as of equal merit.

Rautavaara’s two piano sonatas share a close family resemblance. Both have a subtitle, but according to the composer they are not programme music. According to Rautavaara himself, the Second Piano Sonata, The Fire Sermon (1970), is simply associated with the words “fire sermon”, with no reference intended to the section of the same name in T.S. Eliot’s famous poem The Waste Land. Rautavaara’s piano style is at its most sumptuous in the sonatas. It is characterized by chorale-like chord textures and rolling arpeggios, based on rich harmonies often built up of thirds; in the climaxes the music is crammed into dense clusters.

In the Mists is the last of his more substantial solo work .It was composed in 1912, some years after Janáček had suffered the death of his daughter Olga and while his operas were still being rejected by the Prague opera houses. All four parts of the cycle are largely written in “misty” keys with five or six flats; characteristic of the cycle are the frequent changes of meter. Czech musicologist Jiří Zahrádka compared the atmosphere of the cycle to impressionist works, in particular those of Claude Debussy.The première took place on 7 December 1913, when Marie Dvořákova played it at a concert organized by the choral society Moravan in Kroměříz.

On January 24, 1914, the cycle had its first public performance at the third concert of the Organ School in Brno by pianist Marie Dvořákova, teacher of the school.

The cycle consists of four parts:

Presto

Andante

Molto adagio

Andantino

Below is the work that was changed and not included this time ,but still of great interest so I left it here …..for next time ?

Arthur-Vincent Lourié was a Russian born composer that was associated with Igor Stravinsky for part of his career.  He began as a supporter of the Russian Revolution of 1917, and played a role in the development of Soviet music, serving as the head of the music department for the Commissariat of Popular enlightenment.

He became disenchanted with the new Russian order, and when he went on an official visit to Berlin in 1921, he never returned to Russia. Like many expatriated Russians, he went to France and settled in Paris in 1922. He met Stravinsky in Paris and had a close association with him until 1931.  When France was occupied by the Germans in 1940, Lourié moved to the United States and settled in New York City. He died in Princeton, New Jersey in 1966. Lourié was a highly cultured man with diverse interests that moved in the circles of the avant-garde writers and artists of the early 20th century.

The Cinq Préludes Fragiles (5 Frail Preludes) were composed between 1908-1910 when the composer was 16-18 years old.  They reflect the influence of Scriabin and French Impressionism on the young man. He graduated from the St. Petersburg Conservatory in 1913, but was self taught as well.