Autore: ChristopherAxworthyMusicCommentary

“The tour itself, it was a fantastic experience. I cherished discovering new places and meeting so many kind people, and I greatly appreciated the devoted and detailed guidance from the Keyboard Trust both in the months leading up to the tour and throughout it. That reliability is absolutely invaluable on such travels.

Each venue had its own uniqueness. Some pianos indeed allowed me to work particularly well on the repertoire and therefore to enjoy the performance even more – although what will stay with me most is the warmth, support, and heartfelt response of the audiences everywhere. For me, that metaphysical connection with the public is the true essence of performing; their reaction is the only way to know whether what I am each time striving to share has truly reached them.

I hope these reflections are helpful for your article, and I look forward very much to meeting you soon. Thank you again for your immense dedication, and for the honour of performing under the KT banner.

With warmest wishes,

Vladimir “

Vladimir PETROV Laureate and audience prize winner at the 63rd F. Busoni International Piano Competition (Italy, 2021).

Vladimir Petrov has been celebrated as “one of the best pianists of his generation” (Viviana Aubele, «Martin Wullich journal»). Critics have hailed him as “an amazing, highly talented pianist” (Denis Matsuev, Madiazvod) whose playing embodies “rare musicality and inimitable spirit” (Yurii Danilin, Literary Gazette). With roots in Russia, Petrov was raised from the age of three in Mexico, which he affectionately considers his homeland.

In addition to his appearance at the Busoni competition, he has also found success at numerous other international competitions, including first-prize wins at international competitions, such as «Lotar Shevchenko» in Russia; «Ciudad de Vigo» (Spain); «Jose Jacinto Cuevas» – Yamaha (Mexico); «NTD piano competition» (New York, USA), and «Neapolitan Masters Competition» (Italy).

His active concert career has included performances in Spain, Germany, France, South Korea, the United Stated, Holland, Russia, Italy, Hungary, Malta, Cyprus, Switzerland, Canada, Mexico, Belarus, Romania, Italy, Argentina, Colombia, and Chile.His concert activity includes several appearances at the most famous concert halls, such as the «Salle Cortot» in Paris, France, «Salle Frank Martin» in Geneva, Switzerland, Carnegie Hall (Weill Hall) in New York, USA, the Great Hall of the Moscow State Conservatory, Bolshoi and

Mariinsky Theatres in Russia. Vladimir Petrov has performed with major orchestras in Europe, collaborated with many conductors, including Valery Gergiev, Lanfranco Marceletti, Tito Muñoz, Pavel Gerstein, Gleb Skvortsov, among others. Additionally, he has collaborated in concert tours with the great violinists Graf Mourzha and Kristof Barati.

He has released four solo albums, including «Encores» (2021, «Mans» label, Spain), his 2019 release including Schumann’s Symphonic Etudes, was recorded in the famed Great Hall of the Moscow Conservatory. The next album is scheduled for release in 2025, was recorded in New York.

Vladimir Petrov graduated from the Tchaikovsky State Conservatory in Moscow in 2020, where he studied with Valerii Piassetsky, and Elisso Virsaladze (top-graduate student of the year award). He continued his studies at the Hochschüle für Musik F. Liszt in Germany, with Grigory Gruzman.

Currently based in New York, he is pursuing a postgraduate degree at the Manhattan School of Music under the tutelage of Horacio Gutierrez.

USA TOUR: 11-19 OCTOBER 2025.

Vladimir Petrov in Castleton Virginia,

12th October 2025 @ 3:00 pm – 5:00 pm Castleton Festival, Virginia 663 Castleton View Road, Castleton, VA, ( see below for comments and review)

Vladimir Petrov in Washington DC, USA

14th October 2025 @ 6:30 pm – 7:30 pm Arts Club of Washington 2017 I St NW, Washington, DC ( see below for comments)

Vladimir Petrov in Philadelphia

Vladimir Petrov in Delaware, USA

17th October 2025 @ 7:00 pm – 8:00 pm. Cokesbury Village, USA 726 Loveville Road, Hockessin, DE,

Vladimir Petrov, piano, video of the concert sponsored by the Keyboard Trust in the auditorium at Cokesbury Village on October 17, 2025
https://youtu.be/8H9mfQU9w_M?si=73AVnECoO37iQF75

Helen Foss writes : ‘He was WONDERFUL!!!!!!!!’

Vladimir Petrov in Delaware, USA

18th October 2025 @ 7:00 pm – 8:00 pm Country House, Delaware, USA 4830 Kennett Pike,, Wilmington,

Janet Jones writes : ‘ Dear Helen, Thank you for arranging this. This was one of the highlights of my classical music experiences. Vladimir Petrov gave an Immaculate performance and made sure that the audience heard every note he played. It was quite wonderful and magical. Thank you for making it possible. Jan J’

Vladimir Petrov at Klavierhaus, New York – LIVESTREAM on 19 October 7pm (BST) Link to concert https://www.youtube.com/live/t7XoaemSTaQ?si=3LXxcmmO52rqzgok

Klavierhaus, New York, USA 790 11th Ave, New York, NY,( see below for review by Christopher Axworthy )

PROGRAMMES 
 
CASTLETON, VIRGINIA (90 mins – with interval) 
Bach/Siloti – Prelude in B minor
J. Haydn – Sonata in C major Hob. XVI:50
F. Chopin – Sonata No. 3 in B minor, Op. 58
– interval –
M. Ravel – Ondine from Gaspard de la Nuit
A. Scriabin – Prelude and Nocturne Op. 9
S. Rachmaninov – Moments musicaux Op. 16 Nos. 3, 4, 5, 6

EVERYWHERE ELSE (60 mins – no interval) 
Bach/Siloti – Prelude in B minor
J. Haydn – Sonata in C major Hob. XVI:50
M. Ravel – Ondine from Gaspard de la Nuit
A. Scriabin – Prelude and Nocturne Op. 9
F. Chopin – Scherzo No. 3 in C sharp minor, Op. 39

Much belated thank you for your kind words! I just sent you a detailed report about this magnificent concert – full house – standing ovations – mesmerizing performance!!! And the sweetest house guest one could imagine…

Thank you for sending Vladimir to us – he was such an enriching experience for our audience, for me personally, and he played so so well!!! Dietlinde Maazel Wood Castleton

Petrov’s Transcendent Performance
By Paul Reisler • 10-14-25
I think the last time I wrote a music review was back in the 60’s when I reviewed a performance in Washington of The Band’s final tour—the Last Waltz for my college newspaper. My ink well ran dry believing Martin Mull’s declaration that “writing about music is like dancing about
architecture.”
Somehow, the October 12th concert by pianist Vladimer Petrov at the Castleton Theatre House revived my sleeping pen.
Petrov’s meticulously woven Gaspard de la Nuit by Maurice Ravel painted the story of each of the three poems of Aloysius Bertrand that inspired the suite. As a songwriter, I’ve always believed that “the music is in the words, and the words are in the music.” In Petrov’s reading
we could hear the poetry–a dark, fantastical vision of medieval Europe drawn from the worlds of Rembrandt and Callot. Petrov’s fingers flew over the keys like butterflies in flight, lovingly caressing each note in a cascade of shimmering arpeggios.
After suffering an injury to his right hand, Scriabin wrote Prelude and Nocturne Op.9 for the left hand. With one hand tied figuratively behind his back, Petrov was able to conjure an evocative harmonic richness that sounded as if it were piano for four hands…not one.
While the program featured masterful interpretations of Bach’s Prelude in B minor, Haydn’s Sonata in C major, as well as some of the most difficult pieces in the entire repertoire including
Chopin’s Sonata No. 3 and Rachmaninov’s Moments Musicaux, it’s not the compositions I want to write about.
What had us all hanging over the balcony, what threw us back against our chairs, and what brought us instantly to our feet was the way Petrov imbued meaning into every single phrase.
He wasn’t reciting a section or playing through a movement, he was letting us in on an intimate conversation between one phrase and the next. It whispered, it thundered, it touched us
deeply. The music was dense—raindrops in a hurricane. Yet, every note rang out with clarity, subtlety and purpose.
It’s hard to imagine that after a lifetime of music, I can still hear a concert that I can call one of the best I’ve ever heard. It could only happen at Castleton where the intimacy and acoustic
perfection of the hall, the ongoing partnership between Castleton and London’s Keyboard Charitable Trust, and such impeccable artistry blend together to create a transcendent afternoon of musical magic.

Jaimie Treese of country house Delaware writes :” Vladimir was fantastic and our residents had the opportunity to dine with him prior to his performance.”

‘Vladimir is MARVELLOUS! We moved the planned salon concert from our upstairs Monroe Parlor to our theatre on the first floor. He performed on our newest Steinway on our historic stage. The turnout was very good. His talent is stellar.’  Jameson Paul Freeman,  President, The Arts Club of Washington

Attached are some photos that guests took of the evening. I have a few short videos as well, which we shared over our social media. 

Marja Kaisla in Philadelphia writes

Vladimir Petrov’s performance at the Young Musicians Musicales series was extremely well received by the enthusiastic audience, as the music was highly emotionally charged at all times, no matter which composer, combined with the pianist’s extraordinary technical facility. He began with the solemn Bach/Siloti Prelude with exquisitely crafted voicing, followed by the late Haydn C Major Sonata, in which the 2nd movement presented the pianist with an opportunity to treat it as almost an improvisatory romance, sandwiched by quirky outer movements.

While freshly learned, Vladimir was able to bring about a beautiful display of colors washed in ever-changing keys in Ondine from Ravel’s Gaspard de la nuit. 

Rachmaninoff’s two Musical Moments had a somewhat mysteriously quality, but together with two additional Preludes, Vladimir was able to show his very impressive command of the instrument and once again bring the music to incredible emotional rollercoaster, for the listener virtually impossible to escape. Vladimir is able to maintain two seemingly opposite qualities in his portrayal of music, especially in “fast and furious” pieces: while well thought out, it also feels interestingly improvisatory. 

Scriabin’s Prelude and Nocturne for the left hand were subtle but no less expressive than rest of the program, and for this writer, the Nocturne may have been the highlight of the program, as both the voicing and phrasing were exceedingly well thought out and crafted accordingly.

The program ended with Chopin’s Scherzo C sharp minor op. 39. Vladimir gave his all in his powerful portrayal of the intense drama of the stormy octaves and contrasting angelic arpeggios.

The audience was treated to the delightful Chopin’s Minute Waltz – any audience’s perpetual favourite encore. 

Vladimir Petrov livestream from New York – 19th October at 7pm (BST)”It’s hard to imagine that after a lifetime of music, I can still hear a concert that I can call one of the best I’ve ever heard.” PAUL REISLER, Castleton, Virginia.Watch VLADIMIR PETROV, currently on the Keyboard Trust US Tour, live from Klavierhaus in New York this evening – Sunday 19 October – at 7pm (BST).  PROGRAMME: Bach/Siloti  Prelude in B minor Haydn  Sonata in C major Hob. XVI:50 Allegro Adagio Allegro molto Ravel  Ondine from Gaspard de la Nuit Rachmaninov  Moments Musicaux Nos. 1 & 2 Rachmaninov  Preludes Op. 32 Nos. 5 & 12 Scriabin  Prelude and Nocturne Op. 9 Chopin  Scherzo No. 3 in C sharp minor, Op. 39

The refined artistry of a star a review by Christopher Axworthy

A beautiful way to start a concert with Siloti’s transcription of Bach’s Prelude in E minor BWV 855a that has been described as “perhaps Siloti’s most tender and perfect” transcription. It transposes  Bach’s original down from the original E minor into B minor, with the steady semiquaver figuration that was originally given by Bach to the left hand being instead assigned to the right hand. Siloti also adds a repeat of the entire work, in order to allow for a change of voicing where the melody in the left hand is emphasized. In the published score, the chords in the left hand are arpeggiated ; however, according to Siloti’s daughter Kyriena (to whom the work was dedicated), he would omit the arpeggiation on the first pass and restore it on the repeat in order to heighten the effect of the left-hand melody. It has been performed by many pianists, most famously Emil Gilels but also by Tatyana Nikolaeva and our own Vitaly Pisarenko . Vitaly played it in a special weekend dedicated to the people of Aquila ,who had recently suffered a devastating earthquake not far from Rome. I remember our founders accompanying pianists of the Keyboard Trust from three different nations : Vitaly Pisarenko ,Pablo Rossi and Me Yi Fu to offer a weekend of hope and beauty to the survivors. A concert hall donated to this devastated city by the city of Trento and inaugurated by Claudio Abbado ( one of the original Trustees and founder member of the KT).The moment that Vitaly played the opening notes of this Prelude on a beautiful Fabbrini Steinway , Noretta and I looked at each other as the celestial sounds wafted around this desolate city and it was a feeling of love and beauty that filled this torrid atmosphere.

Vladimir was playing on a brighter Fazioli piano than the Steinway and brought a crystalline clarity to the opening but also a warmth as his superb sense of balance allowed the tenor melody to sing with chorale like poignancy, as the gentle wave of sounds continued like water flowing gently in a mountain stream. Vladimir’s beautiful long fingers stretched out over they keys with a natural shape just as Chopin would encourage his pupils to caress the keys. This was rather than the claw like precision that had been necessary for keyboard instruments before the invention of the pedals ,which Anton Rubinstein declared were the very soul of the piano.

The Haydn ‘English’ Sonata was written for and dedicated to Therese Jansen Bartolozzi in 1794 who subsequently published the sonata  with the title: “A Grand Sonata for the Piano Forte Composed Expressly for and dedicated to Mrs. Bartolozzi by Haydn … Op. 79 … London. Printed for, and to be had of the Proprietor 82 Wells Street and of the Publishers J. and H. Caulfield 36 Picadilly.” Vladimir played it with brilliant rhythmic clarity and Haydn’s genial use of the pedal created a music box effect played by Vladimir with refined delicacy. Vladimir sacrificed charm and elegance in this first movement,though, for classical purity and brilliance . It was to the Adagio that he brought noble beauty and radiance before the exhilarating ‘joie de vivre’ of the Allegro molto that sprang from his well oiled fingers with lightness and dynamic drive.

Of course it was to Rachmaninov that he brought a kaleidoscope of colours and nostalgic beauty. A glowing warmth and beauty to the first Moment musicaux and a remarkable fluidity to the streams of notes of the second that he played with passionate intensity. There was subtle beauty to the Prelude op 32 n.5 in G minor with the beautiful mellifluous flowing left hand on which was floated a melody of timeless nostalgia and delicacy. There was ravishing beauty too, to the tenor melody of op 32 n. 12 with stylish playing of subtle beauty. A natural freedom where the melodic line was allowed to build to a climax of passionate intensity before dissolving to a mere whisper finishing in a puff of smoke.

Scriabin’s Prelude and Nocturne for the left hand alone was played with subtle rubato and a kaleidoscope of ravishing colours.The nocturne taking wing with a glowing whispered fluidity and an etherial cadenza of featherlight fantasy like jewels glistening in the half light of this intoxicating atmosphere.

Chopin’s Third Scherzo was played with the extraordinary contrasts between dynamic octave drive and the magically decorated chorale. A coda of breathtaking brilliance and excitement brought this great work to a masterly conclusion .

Two encores by great request , the last of which was the Minute Waltz played in 99 seconds but with such beguiling beauty and artistry it could have lasted even longer. The first encore was a transcription by Alexis Weissenberg of Trenet’s song ‘En Avril à Paris. It was played with the relaxed mastery of an Oscar Peterson or Art Tatum throwing streams of notes off with nonchalant ease and elegant showmanship .

Morricone was the star shining brightly at Roma 3 this morning .

The sumptuous cello of Alessandro Guaitolini reaching deep into the soul of Morricone, the master of creating unforgettable emotions and the very essence of what was on the screen.

Emanuele Stracchi not only made the arrangements but also knew each film individually as he explained the mastery of Morricone where the music immediately evoked the film.

In fact often it is the music not the film that is so memorable as we were reminded of with such dedicated mastery today

Morricone was born in Rome, the son of Libera Ridolfi and Mario Morricone, a musician. At the time of his birth Italy was under fascist  rule. Morricone had four siblings – Adriana, Aldo, Maria, and Franca – and lived in Trastevere  in the centre of Rome. His father was a professional trumpeter who performed in light-music orchestras while his mother set up a small textile business. During his early schooldays, Morricone was also a classmate of his later collaborator  Sergio Leone.

In 1941 Morricone was chosen among the students of the Saint Cecilia Conservatory to be a part of the Orchestra of the Opera, directed by Carlo Zecchi  on the occasion of a tour of the Veneto region. He received his diploma in trumpet in 1946, continuing to work in classical composition and arrangement. Morricone received the Diploma in Instrumentation for Band Arrangement with a mark of 9/10 in 1952. His studies concluded at the Conservatory of Santa Cecilia in 1954 when he obtained a final 9.5/10 in his Diploma in Composition under Petrassi.

Stars shining brightly in the newly restored Teatro Cometa in the centre of Rome .

Massimo Spada and friends open their new concert series in what has always been known as the Salotto di Roma.

And what friends!

The finest young musicians on the International scene coming together to play chamber music in this wonderful jewel, reborn on wings of song.

Andrea Obiso, the youngest concert master ever of the S. Cecilia Orchestra, opened with a masterly account of Ysaÿe’s ‘Obsessive’ sonata n 2 for solo violin. A range of sounds and kaleidoscope of emotions that was astonishing and overwhelming in its impact . I have recently noticed the concert master at S. Ceclia – how could you not take your eyes off such passion and mastery as he drives his colleagues into playing with his same total commitment. Pappano has created an orchestra of players who listen to each other and with Luigi Piovano and other wonderful players were all used to playing chamber music with him and learning that a Great orchestra takes on the character of its components.

https://christopheraxworthymusiccommentary.com/2025/07/25/piovano-plays-schumann-and-ignites-roma-tre-the-mystery-of-mastery-and-passion/

I well remember the artistic director of the time proudly presenting Andrea to the public just before a symphony orchestra concert, as the youngest concert master ever. He gave a short performance playing a solo Bach suite with hypnotic mastery. It was this same hypnotism that immediately ignited the atmosphere in this jewel of a theatre created by Mimi Pecci Blunt, much as Conte Chigi had done in the Chigiana in Siena. A violin that speaks with a human voice and a range of sounds that makes one realise how Paganini could bewitch his refined society ladies and turn them into hysterical fans trying to grab a souvenir from their idol to take back home perchance to dream! Andrea today created an extraordinary atmosphere from the very moment he stepped into the spotlight. Just a man and his violin who could hold us in his hands with playing of almost theatrical character as this sonata by Ysaÿe kept interrupting itself with a revisitation of scenes from the Dies Irae. A tour de force for any violinist who not only needs technical and musical mastery but needs also to be an actor who can enter into this world of make believe and recount the very unique story that is unfolding.

Followed by three of Tchaikovsky’s seasons with Luigi Carrocchia lovingly caressing this magnificent Fabbrini Steinway and delving deep into its soul with poetic beauty. Many pianists these days insist on playing the complete seasons by Tchaikowsky (Lang Lang, Bruce Liu, Trifonov ) but there are those knowing that too much of a good thing can lead to boredom and chose to play in public only October to December. It was Ian Fountain ( winner of Rubinstein in 1989) who told me he plays in public only these three. October was a favourite encore piece of Shura Cherkassky who often used to play in that other much bigger Salotto di Roma that is Teatro Ghione. It needs a pianist of the so called ‘old style’ who can dwell on certain beautiful inner harmonies and make certain notes shine like jewels within this most nostalgic of melodies.

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

Luigi on this beautiful Fabbrini Steinway played with just such ravishing colour and sense of improvised beauty taking us with him on a voyage of discovery into a wondrous land of sumptuous beauty. The ‘Troika’ is a miniature tone poem ( magically brought to life in a historic recording by Rachmaninov). Luigi played it with the same imaginary vast landscape with the filigree jeux perlé accompaniment over the tenor melody that was worthy of the pianists of the Golden Age of piano playing. A’ joie de vivre’ and brilliance to December concluded this all too short spot from a pianist who like Andrea is above all a poet who can paint pictures in sound.

In fact all through this concert there was the poetic commitment from all the artists, where colour, fantasy and artistic integrity were put before any thought of personal showmanship, even though their searing intensity and virtuosity was allowed to reign with mastery when asked for !

Luigi joined by Erica Piccotti , one of the finest cellists of her generation, whose golden tones reverberated with subtle innuendo around this magnificent space with Piazzolla’s Grand Tango. A true duo performance where Piazzolla’s intricate web of rhythms and insinuating virtuosity combined in a brilliantly played interlude before we could fully appreciate the searing beauty and intensity of Erica’s playing in the Rachmaninov Trio.

They were both joined by Andrea Obiso forming the trio that recreated the heart rending early ‘Trio élégiaque’ by Rachmaninov . This one movement work of whispered haunting beauty was played as one by a trio where each voice communed with the others with searing intensity and ravishing beauty. The gently whispered wave of sound from Andrea and Enrica created a magical atmosphere where Rachmaninov’s glowingly beautiful melody could be heard from a piano that seemed to radiate such delicate beauty from the very first notes. A very early work in one movement that I have never heard played with such architectural shape and meaning. These early works of Rachmaninov can suffer from too much detail that can suffocate the actual musical line ( Kantarow recently has been able to show us the way with the long neglected first sonata ). Three wonderful players who played as one with a give and take of quite extraordinary mutual anticipation ( to quote Menuhin). The searing intensity and golden sound of Enrica’s cello was now allowed to sing out and was taken over by Andrea’s wonderfully intense playing . Luigi playing with the lid fully opened because he knows how to use this great black beast ( as Graham Johnson would say when accompanying singers, not with their book(!), but with the lid fully opened . I am a good driver he would declare, if asked ). The wondrous murmured ending of theatre within theatre, created a unified work of heartrending beauty that I have never realised until this evening what a miniature masterpiece it really is!

What a wonderful voyage of discovery this inaugural concert was turning out to be!

It was now the turn of our host Massimo Spada, who was joined by Beatrice Rana in an intimate performance of Ravel’s ‘Ma mère l’Oye.’ Almost inaudible top notes from Beatrice barely touching the keys would suddenly become a sumptuous projected melody of golden beauty. Elsewhere too Beatrice would search for these contrasting colours just as Massimo would gently allow deep bass notes to open up the sonorities of this black box of hammers and strings, allowing it to be turned into a magic box of sparkling jewels. ‘Abracadabra’ two refined artists ,magicians and musicians , playing together with poetic understanding and beauty.

Extraordinary colours from Beatrice barely touching the keys as she drew us in to listen to such marvels . And Massimo creating the gong for ‘Laideronnette’ deep in the bass as they allowed ‘Le jardin féerique’ to cast its magic spell over us as we await many more marvels in this newly minted season in the months to come .

A party atmosphere backstage as these very busy young artists could relax and enjoy each others company taking time off from their busy careers to recreate music together in this beautiful intimate theatre .

As Massimo said,’ while many theatres are closing the reopening of the Cometa gives hope that quality rather than quantity is what our society is missing!’

If music be the food of love …….play on.

Hats off, Gentlemen, a blazing Comet has just landed in Rome……..we could have danced all night ……….

A ‘tour de force’ from Filippo Tenisci who after his heroic dedication to the Liszt Transcriptions of Wagner has now set his sights on rarely if ever heard works of Béla Bartók. A seemingly infallible memory that allowed him to master the intricate rhythms and continual changing character that Bartók uses from the folk idioms of his native Hungary.

His programme had begun, though, with Debussy which immediately showed off his kaleidoscope of sounds allied to a musical intelligence that could always perceive the overall line and architectural shape of works that in lesser hands can loose their noble identity. ‘La Cathédrale Engloutie’ seemingly rather slow at the beginning, with a very particular way of coaxing the sounds out of the piano but creating an atmosphere as the music gradually took wing. The ending too was rather slow but of great contemplation and poignant beauty. It was just the contrast that he found as the great chorale outpouring was allowed to flow with noble richness, the hands always caressing the keys with fluidity and radiance.

It was this glowing fluidity that made the ‘Images’ book two so full of ravishing colours and fleeting lights. Debussy’s magical bells were played with a piercing beauty as the melodic line was allowed to float on a wave of magic sounds. Sounds that became ever more of glistening radiance as the bells became closer. But it was the whispered ending that was played with the beauty of artist who is also a poet of sound. It was the same with the emptiness that he could convey as the moon shone on the imaginary temple.There was a beautiful whispered purity to the plaintive melody that arose above such a ravishing accompaniment. The desolation that sounds could convey from Filippo’s wondrous tonal palette was immediately interrupted by the vision of Debussy’s lacquered Gold fish . There was a seemingly improvised freedom but also a great sense of line that gave architectural shape to the impish devils darting around in Debussy’s imagination until they disappeared into the distance.

Wagner’s or should I say Liszt’s ‘Liebestod’ has long been in Filippo’s repertoire and I imagine it was the work that inspired him to delve deep into the other transcription’s or should I say recreations by Wagner’s son in law. Mastery and authority went hand in hand as the noble opening declaration dissolved into a vibrant interweaving of counterpoints of red hot passion. Finally exploding into the tumultuous climax that Filippo played with overwhelming power and conviction. It was here in the mighty climax that Filippo allowed the bass to give an anchor to the sumptuous sounds that poured from his hands but never hardening or ungrateful but ever more grandiose and all embracing.

These works by Bartók strangely I have never heard before in concert even if György Sándor ,who was a friend of the composer and the first to play his third piano concerto in public, was a regular visitor to my concert seasons in Rome with works other than these.

There must be a vast amount of Bartók’s works that I am sure Filippo will discover in the archives and bring at long last before the public . Works that he will bring to life as today with his wondrous palette of colour and kaleidoscope of sounds together with a technical mastery that can cope with such complex rhythmic juxtapositions.

Marvellous though it was to hear such revelations Filippo had thought carefully about an eventual encore. Refreshing the air with the purity and simplicity of one of the Bagatelles op 126 that Beethoven had written at the end of his life when he could foresee the vision of paradise that awaited after such a tormented existence on earth.

Filippo Tenisci opening concert at Roma 3 ‘A musician of refined intelligence and mastery’

Wagner & Liszt embark in Deal with Filippo Tenisci at the helm.

Sounds rarely heard in this hallowed shrine of chamber music wafted around the hall from the very first notes as Illia caressed the notes of this magnificent vintage instrument known amongst the privileged few as the ‘old lady’ . Illia did not know which piano he had been given for his long awaited debut at the Wigmore Hall. It has no importance because the kaleidoscope of sounds and wondrous sense of balance spoke for itself.

A young man who has been on the radar for some time since growing in stature from being heard in the Paderewski and the Busoni Competitions. Finally reaching his just recognition in Canada in the Honens Competition .

His recent CD of the Liszt Sonata got the praise it deserves from the critics and it was this pinnacle of the Romantic piano repertoire that he chose for this concert.

Variations on the Allegretto from Beethoven’s 7th by Corigliano and Schumann before playing Liszt’s extraordinary transcription all preceded a monumental recreation of Liszt’s mighty B minor sonata .

Visibly moved as we all were with many minutes of contemplative silence after such a ritual, Illia offered a prelude by a Ukrainian compatriot very much in the style of Scriabin .

Wondrous sounds filled the hall where emotion and mastery created a magic which will long resounds within these walls.

The B minor Sonata was of a nobility with an extraordinary range of sounds. A sense of balance that these days is rarely taken into consideration. In this very hall the great master pianists of the past were above all magicians who by means of subtle colouring could give the illusion that the piano could sing with the same inflections as the human voice. In every note there is an infinite variety of sounds where this black box of hammers and strings was not all black and white but multi coloured.

From the very first sounds of Corigliano ,written as a test piece for the Cliburn Competition a few years ago, Illia created an amazing range of whispered sounds showing a masterly control of dynamics . He created a very evocative warmth with sumptuous depth, out of which piercing sounds were heard shrieking within this ghostly atmosphere. Suddenly in the distance like a submerged cathedral gradually coming into view, there could be heard the rhythm of the 7th which was felt vibrating as it revealed itself with glowing clarity. A pointilist painting in sound where this poet of the keyboard could take us to a world of make believe with a vision of wondrous beauty only revealed so potently because there was also piercing brutality. Music is made of contrasts and it was this that gave such meaning and architectural shape to a work that in lesser hands could be just a series of disjointed sounds.

I must confess I do not know this early work of Schumann but obviously Beethoven was bathed in a golden web of wondrous moving harmonies. Illia has an extraordinary lightness ,not exactly jeux perlé, but a way like Kantarow of being able to see the true musical line and the wood enveloped by trees which have branches blowing in wind – to use Chopin’s words. A wondrous sense of balance allowed the melodic line to be revealed amongst a continuous stream of golden sounds played with a kaleidoscope of colours . Magic was in the air as the theme was played with chiselled beauty with a bare minimum of suggestive accompaniments. Here was a transcendental display of playing from another age where sumptuous rich sounds filled this hall from a truly grand sounding piano in the hands of a master magician.

A masterly performance of Liszt’s transcription of the Allegretto from the Seventh Symphony where Illia ‘s ten spindly fingers could find an infinite variety of sounds . What marvels there were when the melodic line soared above the pounding insistent bass. A quite extraordinary fluidity to the sound as it became ever more intense.

The opening of the Liszt Sonata was a lesson in how to read the score In the introduction the three leit motifs were played ‘piano’ and ‘forte’ the fortissimo appearing only as the Sonata takes wing. If the ‘sempre forte ed agitato’ was played rather too fast to allow the third theme to be clearly underlined it was because Illia’s passion and driving energy swept all before it with a wondrous sense of balance and architectural shape never allowing us to loose sight of the musical line. Even the great chordal accompaniments to the most passionate of outpourings were merely vibrations that accompanied the melodic line. Breathtaking fearless brilliance was always kept under control by a master musician with octaves played with extraordinary clarity and the melodic episodes played with heartrending simplicity. I have never heard the fugato played with such whispered whimsy as it gradually built to a tumultuous climax.The final visionary page was played with quite extraordinary clarity where legato and staccato lived happily together as all three themes became entwined in a final etherial farewell.The final three repeated chords were played with ever diminishing whispered sounds as the final ‘B’ deep in the bass brought this harrowing tale to a sombre ending. There were many minutes of absolute silence as the entire audience were as one with Illia, in one of those unforgettable magic moments that only live music making can offer.

A star is truly born tonight and is shining brightly.This young artist will surely enrich the lives of us all for years to come.

Illia Ovcharenko in Gstaad Sweet innocence of youth and the birth of a great artist

Illia Ovcharenko in Duszniki A great artist with a heart of gold

An artist is known by their programmes and Chenyu Wang presented three master works that showed her artistry and masterly musicianship.

A graduate from the Royal Academy under Ian Fountain , whose birthday it was too .

What better way to pass a special day than listening to his student playing with such superb musicianship: Beethoven op 110, Schumann Kreisleriana op 16 and the simple beauty of Ravel’s Sonatine. Chenyu who had just flown in from Boston where she is now preparing her Masters at the New England Conservatory under Alessio Bax, who with Paul Lewis was one of the first pianists to benefit from the Keyboard Trusts caring hands under the founders Noretta Conci and John Leech.

Kreisleriana opened this short recital where the eight episodes poured from her hands with poetic beauty and extraordinary technical control. Each piece played with ravishing beauty and passionate commitment, whilst at the same time she could knit them into one complete whole. The first episode just shot from her fingers with extraordinary authority and drive but it was the legato and control of sound in the second episode that was even more remarkable for the shape and beauty she was able to bring to this long and, in lesser hands, seemingly meandering piece. The penultimate episode too was a ‘tour de force’ of dynamic playing with no splitting of hands for this young master, just hair raising passionate driving urgency. But it was the final teasingly simple episode that she played with remarkable musicianship as the syncopated bass notes just added an anchor to the seemingly whimsical upper parts. Expanding into a sumptuously rich outpouring of Philadelphian sounds but always returning to the whispered snail like meanderings that were to take us to the whispered adieu at the bottom of the keyboard.

Simplicity and radiant beauty refreshed the air as she allowed Ravel’s Sonatine to vibrate with crystalline ease. Even the last movement was a wave of brilliant sounds gradually gaining more and more momentum with hypnotic vibrancy.

Taking all the time needed to play the magical opening notes of Beethoven’s penultimate sonata . I was reminded of Glenn Gould who would spend hours over the opening notes of the Fourth Concerto that has so much in common with the genial opening of this sonata too. The genius of Beethoven, who with so few notes could say so much. Chenyu brought a poignant stillness to the first movement of op 110 playing with disarming simplicity and radiant beauty . The transition to the development where Beethoven takes one magical step down and D flat becomes E flat, was where Chenyu displayed her breathtaking knowing understatement. There was immediately a rude awakening with the dynamic Beethovenian drive of the ‘Allegro molto’ where the treacherous leaps in the ‘Trio’ were played with fearless mastery .This set the scene for one of Beethoven’s most poignant outpourings of bel canto. The delicacy and kaleidoscope of colours that Chenyu found created a magic that held us spellbound in wonder that music could contain such unfathomoble secrets. Gradually allowing the music to unfold as Beethoven reaches the ecstatic climax with his vision of the paradise that was to await just a few years on at the age of only 57.

Playing of mastery and maturity as this twenty three year old descended on London for just twenty four hours. A permanent jet lag was a small price to pay for being able to share such wonders with us last night, and to celebrate the birthday of her mentor Ian Fountain the only British pianist with Benjamin Frith in 1989 to win the Rubinstein Competition.

Leslie Howard , founder trustee of the Keyboard Trust and master pianist will give his annual Wigmore recital ( I think almost the 50th) on 23rd of this month .

He was generously presiding and conducting a short public conversation with his remarkable younger colleague .

Celebrations were now in order above all for the magnificent music making we had been treated to but also to celebrate not only Ian Fountain’s birthday but also mine!

Chenyu is already in the sky looking down on the proceedings with a knowing twinkle in her eye.

Chenyu Wang, 23, from Zhuhai, China, is currently pursuing her Master of Music degree at the New England Conservatory in Boston, studying with Alexander Korsantia and Alessio Bax.

From 2014 to 2020, Chenyu studied at the Music School affiliated with the Xinghai Conservatory of Music in Guangzhou, where she won the Concerto Prize in the piano department and received multiple scholarships. She also gave recitals at Guangzhou’s Steinway House. In 2016, she won First Prize in the Beijing Xinghai Cup, one of China’s top national competitions for young pianists.

In June 2024, she graduated with First Class Honours from the Royal Academy of Music, where she studied with Ian Fountain on a full scholarship. She also received the Edna Bralesford Piano Prize for the highest recital mark of the year. Chenyu was awarded the Polonsky Foundation Fellowship with a full scholarship to attend the 2024 Aspen Music Festival and School. In 2023, she won First Prize in the Piano Recital category at the Oxford Music Festival.

Chenyu has performed at prestigious venues including Jordan Hall in Boston, St James’s Piccadilly in London, the Wiener Saal of the Universität Mozarteum Salzburg, the Concert Hall of the Fryderyk Chopin University of Music in Warsaw, and the Oratorio di Santa Caterina in Cervo, Italy.

In addition to Aspen, Chenyu has participated in notable festivals such as the Oxford Piano Festival, Morningside Music Bridge, Internationale Sommerakademie Mozarteum, and the Accademia Internazionale Estiva di Cervo, among others. She has worked with distinguished musicians including Arie Vardi, Michel Béroff, Steven Kovacevich, Arnulf von Arnim, Eleanor Wong, Aquiles Delle Vigne, and Sa Chen.

Programme for Leslie Howard’s annual Wigmore Hall recital!

23rd October 2025 at 7:30pm

BEETHOVEN Sonata no. 11 in B flat major, opus 22

TCHAIKOVSKY Grande Sonate (no. 3) in G major, opus 37

LISZT Deux Polonaises, S223:

LISZT Liebesträume — Drei Notturnos, S541

LISZT Soldaten- Chor & Marsch aus der Oper Faust von Charles Gounod, S743

More than 50 years ago, Leslie Howard performed three consecutive recitals at Wigmore Hall celebrating the music of Beethoven, Liszt, and the great Russian Romantics. These three aspects of the piano repertoire have been informing many of his recital and recording programmes every since. His 2025 Wigmore recital continues the tradition:

The culmination of Beethoven’s first great group of piano sonatas, the composer himself suggesting that the composition the B flat major sonata went so smoothly that the piece seemingly took care of itself. The result is a work of consummate refinement and elegance, with a perfect balance between lyricism and concertante display, demonstrated in miniature in the minuet and trio and at large in the grand dramatic structure of the whole work.

Tchaikovsky left his first sonata as an incomplete first movement in F minor; his second, a four-movement work in C sharp minor, remained in manuscript until it appeared after the composer’s death as his opus 80; the third fared rather better, and was completed in 1878 and published contemporaneously with the violin concerto. It was taken up by Nikolay Rubinstein, and enjoyed considerable success in its day, despite Tchaikovsky’s initial customary doubts and misgivings. It is a bold piece, often very orchestral in its texture, and notably intricate in deriving its materials from very short motivic cells. (Leslie Howard recorded all three sonatas for Hyperion.)

Liszt’s inexhaustible fecundity produced a vast range of compositions of all kinds, and the public is only gradually coming to terms with Liszt’s range and true depth. The pieces in the present recital are amongst his most beloved works, presenting first the two very imposing polonaises – the one a powerful elegy, the other overflowing with joy. Then come the Liebesträume (Love’s dreams) – three nocturnes. The third has always been Liszt’s most popular intimate melody, but it it is even more striking when heard in conjunction with its two companions. Of course, all three pieces were originally songs with piano – always entitled Liebesträume, and the nocturnes retain the song titles: Hohe Liebe (Great love), Seliger Tod (Blessed death) and O lieb, so lang du lieben kannst (Oh Love, as long as you are able to love).

The final piece is a conundrum. Not that anyone will fail to recognise the famous Soldiers’ March and Chorus from Gounod’s Faust, but this rather riotous piano elaboration of it first appeared in print as the opus 17 of one Josef Löw (1834-1886). Because of references in Liszt’s correspondence, it was long thought that there must have been a missing piece of Liszt with this title. Further investigation shows that Liszt was approached to help young Löw by gifting the young fellow something that he could claim as his own, and this work is immediately identified. Unsurprisingly, the published piece is fulsomely dedicated to Liszt. But there are no surviving manuscripts, and no way of knowing how much, if anything, Löw contributed to the publication. And there are many felicitous touches and hallmarks that bear clear testimony to Liszt’s authorship!

Leslie Howard bringing the concealed mastery of pianistic genius to Trapani

Beethoven Sonata in C-sharp minor, Op. 27 No. 2 ‘Moonlight’  Adagio sostenuto- Allegretto – Presto agitato

Schumann Fantasiestücke, Op. 12  Des Abends – Aufschwung – Warum – Grillen -In der Nacht – Fabel – Traumes Wirren – Ende vom Lied

Gounod/Liszt Faust Waltz 

Rachel Cheung playing for the Beethoven Piano Society of Europe, how could she not open but with Beethoven.The thirty two sonatas Julian Jacobson had presented in this very hall a few years ago in a marathon non stop performance of all thirty two at one sitting. He was now presenting his colleague from Hong Kong with just one of the thirty two steps of Beethoven that map the long and tormented existence of a genius.

Today he was presenting Rachel in whose Academy in Hong Kong he had recently given masterclasses. Rachel today just presented one Sonata ,but it is the most well known of all sonatas , known as the ‘Moonlight’. A title that Beethoven did not choose but his publisher thought would sell better if it had a title ! One of his two Sonatas ‘quasi una fantasia’ that make up op 27. Both extraordinarily original works where Beethoven is breaking away from his teacher Haydn and the classical model sonata form .

Op 27 n.2 which Rachel played today suffers from its title in that people usually play the first movement too slowly gazing into the magical inexistent moonlit waters. It is infact written in two and the continual triplets are but an accompaniment to the melody that is floated above. Rachel played it as Beethoven had written and her beautiful flowing tempo and the glistening clarity of the melodic line was given an architectural shape that gave a noble beauty to this ‘Adagio sostenuto.’ The ‘Allegretto’ was played with Beethovenian severity where grace and Haydenesque charm would have contrasted better with the Trio that she played with great authority. The ‘Presto agitato’,last movement was played with masterly control and burning intensity. Even the beautiful mellifluous passages had an urgency to them that brought us to the tumultuous cascades of notes, and after a brief relieving cadenza, the final burst of driving urgency was played with masterly authority.

It was the world of Schumann where Rachel’s mastery really shone brightly. There was an authority and beauty to all that she did, where even the opening ‘Des Abends’ was played with a chiselled beauty and timeless beauty. A magical accompaniment on which the melodic line could float with poignant meaning. ‘Auschwung’ just sprung from her fingers with a passionate outpouring of driving intensity , but even here there was a beautiful melodic line that floated magically above an ever more agitated accompaniment . There was wondrous beauty to ‘Warum’ where the beauty of the duet between the voices was played with ravishing sounds with exquisite phrasing and magical colouring. She brought a great sense of character to ‘Grillen’ with a continuous whimsical display of rhythmic and melodic episodes played with extraordinary brilliance and beguiling capricious charm. ‘In der Nacht’ brought a superb web of weaving sounds played with absolute mastery and clarity and with a terrifying driving force. Even here, wondrous melody suddenly appeared, as Schumann in this period, like Schubert, seemed to have a never ending song in his heart. ‘Fabel’ brought capricious comments of improvised lightness in reply to the slow melodic story that was unfolding with such poetic imagination. ‘Traumes Wirren’ was played with fearless mastery as this ‘perpetuum mobile’ drove its way relentlessly over the entire keyboard with exhilarating exuberance. There was a nobility to the ‘Ende vom Lied’ that Rachel played with aristocratic authority. The absolute stillness that she brought to the final few bars was magic indeed. As Schumann wrote so poignantly to Clara : ‘everything ultimately dissolves into a merry wedding – but my distress for you came back at the end, and the wedding bells sound as if commingled with a death knell.”

A masterly performance that held us spellbound with the poetic beauty and authority of her playing

The final work was the Gounod /Liszt Faust paraphrase. A pianistic show piece that Rachel played with fearless abandon but with masterly control . A kaleidoscope of colours illuminated the extraordinary brilliance of the jeux perlé as Liszt weaves a magical web of sounds incorporating Gounod ‘s magical melodies . Grandeur and sumptuous rich sounds filled this beautiful church with sounds of the opera where glissandi were thrown off with the same natural ease as a singer with the embellishments of bel canto. A breathtaking ‘tour de force’ of a work that in Liszt’s day would turn refined aristocratic ladies into a screaming mob wanting souvenirs of their idol to take home . Rachel’s performance ,too, generated such excitement that the final tumultuous bars were greeted with a spontaneous standing ovation.

Hong Kong-born pianist Rachel Cheung is recognized as one of the most sought-after artists in Asia. She has been hailed as “a poet, but also a dramatist,” displaying “the most sophisticated and compelling music-making” (The Dallas Morning News). She won over audiences and critics alike as a finalist at the 2017 Van Cliburn International Piano Competition with “stunningly imaginative” (Musical America) interpretations marked by “flights of both beauty and virtuosity” (Theater Jones) and was awarded the Audience Prize by online vote. Also a Steinway Artist, she continues to build a reputation for her elegant stage presence, giving sensitive and refined performances across three continents. 

Rachel has appeared with the St. Petersburg Philharmonic, Hong Kong Philharmonic, Jerusalem Symphony, Hong Kong Sinfonietta, Sydney Symphony, London Chamber, and Fort Worth Symphony Orchestras, collaborating with conductors including Edo de Waart, Vladimir Ashkenazy, Jaap van Zweden, Leonard Slatkin, Sir Mark Elder, Christopher Warren-Green, and Nicholas McGegan. 

She has performed in recital at the Auditorium du Louvre in Paris, Elbphilharmonie in Hamburg, Steinway Hall in London, Weill Recital Hall at Carnegie Hall, Richmond Hill Centre for Performing Arts in Toronto, Philharmonie de Paris, and in other cities across the United States, Europe, and Asia. 

As an active chamber musician, Rachel has collaborated with world-renowned artists including soprano Anna Netrebko, tenor Yusif Eyvazov, mezzo-soprano Virpi Räisänen, violinists Joshua Bell and Ning Feng, violist Vladimir Mendelssohn, cellists Camille Thomas, Zlatomir Fung, and Narek Hakhnazaryan, as well as the Brentano String Quartet and Quatuor Hanson. 

Born and raised in Hong Kong, Rachel graduated with first-class honors from the Hong Kong Academy for Performing Arts under the tutelage of Eleanor Wong and later studied with Peter Frankl at the Yale School of Music, where she was awarded the Elizabeth Parisot Prize for outstanding pianists. Her additional competition honors include prizes at the Leeds, Chopin, Vladimir Horowitz, Gina Bachauer, and Geneva International Piano Competitions. 

In 2019, Rachel was awarded Artist of the Year (Music) by the Hong Kong Arts Development Council. In 2025, she founded the Rachel Cheung Music Academy in Hong Kong, aiming to create a vibrant musical community and inspire the next generation of musicians. Her first concert DVD was released by VAI in 2007, and her debut international album, Reflections, featuring the Chopin Preludes, was released by Universal Music. 

Presented in association with the Beethoven Piano Society of Europe  

Rachel Cheung at St Mary’s Perivale

Review by Daniel Moult Head of Organ Royal Birmingham Conservatoire

THOMAS HOWELL has already established his reputation on the UK organ scene whilst still an undergraduate at the Royal Birmingham Conservatoire, studying under Daniel Moult and Nicholas Wearne. He has held positions at the cathedrals of Chichester and Birmingham, is
a competition winner (including second prize at the prestigious IAO RCO Competition 2024), and is also active as a piano accompanist and carillonneur (in his spare time). His adoption by the Keyboard Trust will open further opportunities in the UK and beyond, not least
Sunday’s recital in the Summer Organ Festival Young Artist Platform at Westminster Abbey.

The Abbey organ has power and authority, but is not without its traps for the unwary. Its position on the screen at the head of the Nave means that the sound can be rather diffuse, a situation not helped by the substantial acoustic in the main body of the building.

Thomas was able to overcome these issues with commendable success, in playing that was invariably clear, well-paced, and in sympathy with the size of the room. Whilst this is a challenge facing all organists performing in many a cavernous space, it is a skill which can elude even the experienced concert player.

The Cantabile by César Franck took us to a very different sound world and emotional space, showing a beautiful sense of line and a confident control of bigger architecture, as well as a fine control of legato. This is a small masterpiece, with its modest size belying the intensity of the material and the superb compositional craft. Thomas
summoned up the colours specifically demanded by Franck, with apt and well-balanced registrations.

But it was the subsequent Scherzo from the Organ Sonata of Sir Edward Bairstow which fitted the Abbey organ’s Edwardian pedigree like a glove. Suitably refined and plummy tones graced this curious music, at times rumbustious and fun, but elsewhere darker and even menacing. If the series allowed for spoken introductions or brief programme notes (a mixed blessing, of course), it might have been appropriate to mention the background of the Sonata. Bairstow composed this whilst on holiday on the Isle of Arran in
1937, with Europe in an already precarious political state.

Proud of his Welsh heritage, Thomas included as his penultimate piece the elusive Canzonetta by fellow Welshman, William Matthias. Alternating between folk-like simple melody and more extended harmonies (sometimes reminiscent of Olivier Messsiaen), the
short work was perhaps a little more of a challenge for the largely non-musician audience.
But is sometimes good to take our audiences beyond their comfort zones, and I sensed that this curious and effective piece held their attention.

Whatever the case, the Final from Charles-Marie Widor’s Symphonie VI blew away any lingering mystery or uncertainty, with
its unabashed opening swagger. Here, the true ‘ff’ of the instrument was revealed (the louder sections of the Bairstow having been deliberately held in check) to powerful effect. As is sometimes the case with Widor’s finales, the middle section is less direct in expression, although this made for a yet more arresting return to the main material. And the ending was suitably cataclysmic, with a massive G major final cadence filling the space with optimism and joy.

Young organ performers today face a dilemma, as they must find their own musical way in the midst of social media populism and the cult of the personality.

In the case of Thomas, he exhibited a strong and mature musical character of his own, and gave us an accessible
programme of integrity and substance. His future is surely bright, and he and others will be the ambassadors of the organ that showcase the organ art and its rich heritage.

The extraordinary Tyler Hay excites and stimulates the senses at the National Liberal Club with a recital of ‘petit rien’, full of ebullient fun and outrageous virtuosity. Thwarted by Ben Westlake in a comic partnership that goes back after many years of cruising together over many seas. It took Chairman Peter Whyte to restore order with a bottle of vintage champagne and a bunch of flowers!

‘Tyler Hay Vaudeville Virtuoso! ‘ A piano Recital of Wit,Wonder,and Wizardry shouts the poster.

We will not be asking for our money back but demanding a return fight!

A programme that had begun with the Polonaise Héroique. Frederick Lamond declared it to be more often a Bolognaise than a Polonaise! Heroically played by the new born Victor Borge where their wit belies the artistry and mastery involved. Debussy’s ‘Girl with the flaxen Hair’ followed and was played with a tenderness and beauty that showed what a sensitive heart this young man possesses too. Spring was in the air with Mendelssohn and Sinding .

A ‘song’ and a ‘rustle’ that used to be on the music stand next to the aspidistra in every respectable household until ousted by the TV.

And a virtuoso piece by Liszt before we adjourned to the bar with bells jingling in our heads from a dizzying display of refined virtuosity with Liszt’s helpful additions to the extraordinary goings on of Paganini ! Yes,’La Campanella!’

After the interval two rarely heard masterworks discovered by Tyler on his journey into the archives to find neglected masterpieces that for some reason have been overlooked and even overshadowed by the works that our concert programmes are all too often besieged with ! As Tyler said so many childhoods have been spoilt by the name of Czerny with he and Clementi being responsible for so much youthful anguish Gradus ad Parnassum – the later being very rarely reached ! But within the 861 works of this pupil of Beethoven and teacher of Liszt there are some gems for those that have the ears and above all the fingers to bring them back to life . One such piece was played tonight : ’34 variations and fugato on an original theme by Carl Czerny.’ . An amazing display not only of ‘fingerfertigkeit’ but a finesse and refined palette of sounds that only Horowitz was able to show us in the better known ‘Ricordanza’ Variations. Played with passion and fury but also with delicacy and a kaleidoscope of colour .This was indeed a discovery and the only recording that exists is of Tyler Hay pilfered from a live performance and ready to be consumed by thousands on you tube!

The main work in the programme showed Tyler Hay, the serious thinking musician, who could bring Anton Rubinstein’s First (of four) Sonata brilliantly to life, giving it an architectural shape and narrative that indeed makes one wonder why it is not heard more often in the concert hall. This was certainly no vaudeville but a brilliant searching musician with a virtuoso technique and a heart of gold.

Awarded the Kettner equivalent of the nobel by the Chairman Peter Whyte – a bottle of vintage Champagne and a bunch of daisies!

Tyler Hay reaching for the stars.’From candlelight to starlight’.A masterly display of artistry and showmanship at St Martin in the Fields

Tyler Hay at St Mary’s Perivale ‘The Perfect Pianist comes of age ‘

The next concert in the Kettner series is a celebration for Halloween and will be given by Shunta Morimoto ,the twenty year old winner of the Hastings International Piano Competition (at 17!). The concerts take place in the historic Hall where Rachmaninov gave his last European performance in 1939 before fleeing to a New World where he died in 1943.

Shunta Morimoto bringing youthful mastery and magic to Walton’s Paradise

Shunta Morimoto takes Rome by storm

A quite extraordinary artist who I often hear in the beautiful church in Bedford Park of St Michael’s and All Angels

He lives opposite and like Liszt frequents the church ( and the Tabard opposite !) as a fervent believer and quite regularly is seen serving at Mass. Not only serving but also adding a musical offering of his quite unique scholarship and pianistic mastery . Two or three times a year he can be heard in repertoire that one will probably have never heard in concert before!

His next concert will be on the 19 December as his Christmas offering – a feast fit for celebration indeed .

Mark Viner takes Bedford Park by storm …….Refined French cuisine prepared by a Master Chef

I heard this concert just a month ago and I am glad to include my thoughts here. I am even more grateful to Dr Mather and his team for allowing Mark to play the same programme in their beautiful church on Ealing Golf Course , St Mary’s Perivale .Their superb recording facilities allow this recital to be recorded and heard world wide .It is an important document that should be shared more widely and not only a humble offering to our Lord.

Described by International Piano Magazine as “one of the most gifted pianists of his generation”, Mark Viner is steadily gaining a reputation as one of Britain’s leading concert pianists; his unique blend of individual artistry combined with his bold exploration of the byways of the piano literature garnering international renown. He began playing at the age of 11 before being awarded a scholarship two years later to enter the Purcell School of Music where he studied with Tessa Nicholson for the next five years. Another scholarship took him to the Royal College of Music where he studied with the late Niel Immelman for the next six years, graduating with first class honours in a Bachelor of Music degree in 2011 and a distinction in Master of Performance 2013; the same year which afforded him the honour to perform before HM the King. 

After winning 1st prize at the Alkan-Zimmerman International Piano Competition in Athens, Greece in 2012, his career has brought him across much of Europe as well as North and South America. While festival invitations include appearances the Raritäten der Klaviermusik, Husum in Germany, the Cheltenham Music Festival and Harrogate Music Festival in the United Kingdom and the Festival Chopiniana in Argentina, radio broadcasts include recitals and interviews aired on Deutschlandfunk together with frequent appearances on BBC Radio 3. His acclaimed Wigmore Hall début recital in 2018 confirmed his reputation as one of today’s indisputable torchbearers of the Romantic Revival. 

He is particularly renowned for his CD recordings on the Piano Classics label which include music by Alkan, Blumenfeld, Chaminade, Liszt and Thalberg, all of which have garnered exceptional international critical acclaim. His most important project to date is a survey of the complete piano music of Alkan: the first of its kind and which is expected to run to some 18 CDs in length. Aside from a busy schedule of concerts and teaching, he is also a published composer and writer and his advocacy for the music of Alkan led to his election as Chairman the Alkan Society 2014. 

Mark Viner cooks a dish fit for a King Ravishing beauty,supreme artistry and total mastery served up on a casserole by a cordon bleu maitre.

Mark Viner at St Michael and All Angels bringing mastery and discovery to Chiswick

Mark Viner at St Mary’s Faustian Struggles and Promethean Prophesies

Mark Viner takes London by storm

Mark Viner takes Italy by Storm