Autore: ChristopherAxworthyMusicCommentary

Monumental Brahms from Louis Lortie tonight and as he rightly pointed out at the end of an extraordinary performance of the F minor Sonata it was in no small way thanks to the magnificent Bosendorfer at last in its rightful place on the stage of the Wigmore Hall.
Chosen especially for the hall some years ago by Andras Schiff it has been known as the most expensive green room piano ,as nearly all artist go for the home Steinways or even import a Fazioli.
The fully orchestral sounds that he was able to muster in the Brahms was due in part to the remarkable bass that this instrument has, allowing the piano to open up not only to sumptuous full sonorous orchestral tuttis but also to the more intimate reflective episodes.
Of course the taught rhythmic control that Lortie exhibited was rare indeed but essential for the structure of this difficult work.So often without this total control the work can seem very episodic.
This was certainly not the case here .
Infact by the time he got to the sublime slow movement he had the public in his hand on one of those rare occasions reminiscent of Rubinstein or Curzon when audience ,performer and music become one……..in short there was magic in the air.
Lortie had totally won the confidence of this discerning public who trusted him as they would a Perahia or Zimmerman never to lead them astray but to show them the wonders and beauty of a work as if being heard for the first time.
Spectacular Scherzo leading to a magical introduction to the last movement that was again held under complete control so when the final coda erupts it was even more of a surprise for him that for us.
The first half of this extraordinary programme was made up of Mozart A minor Sonata K.310 and Beethoven op.101.
Both played with a rigour that did not exclude sensitivity or tenderness when required.
I personally would have preferred not to have ornaments added in the repeats of the Mozart as if the ornament was a variant and not simply an expressive device.However it was very discretely added but maybe not necessary for someone who sees and feels so clearly the overall line of these masterpieces with a simplicity and directness that does not need variants .
Op 101 was characterised again by very taught rhythmic control allied to an intelligence and complete understanding of style .
The Bosendorfer in the first half,though, was less convincing as one felt there could have been more variety of sound on a different instrument.When it came to Brahms this suited the highly orchestral type of writing perfectly whereas the instrumental writing of Beethoven and Mozart in these two sonatas never has the deep sonorous bass notes that abound in the F minor Sonata and are so much part of this very fine Bosendorfer.
A standing ovation for a remarkable evening with a true musician who after much insistence offered a beautifully simple but persuasive performance of Mozart’s Fantasie in D minor ……..too easy for children but too difficult for adults as Schnabel would say ,but not on this occasion the magic had been set and was there to stay.

“Ravishing” I think is the word that Hugh Mather was searching for when, in his enthusiasm, he exclaimed that the recital by Dinara Klinton at St Barnabas today was the best he has ever heard .
In fact this remarkable “Deus ex macchina” of Ealing and Perivale should know as he has clocked up well over a thousand concerts in his notable efforts to help give a platform to some of the most remarkable young talents around.
Dinara would ,indeed, be a godsend to any piano dealer because every piano she touches turns to gold .
This old concert Bosendorfer came into its own with the very first Scarlatti sonata that Dinara offered.A very subtly coloured Sonata in B minor K.87 followed by a most exhilarating performance of the famous Horn call Sonata in D minor K 96.
But it was the Beethoven that Hugh Mather, in particular. was alluding to .The little sonata op 78″ A Therese”.

The opening theme seemingly entering on the scene as though it had been hovering in the wings all the time , such was the legato found by Dinara Klinton.Rarely can the opening of a sonata have sounded so perfect .Followed by such a cohesive performance of such rhythm allied to  velvety rich sound one was reminded of that other great Russian Beethovenian Emil Gilels.
Dinara has just recorded the Liszt Transcendental Studies to rave reviews from the critics, and is BBC record of the month voted on record review no less( Genuin Classics 16409).So it was very good to be offered three of the most poetic of them to end her recital.
Three real tone poems in every sense.
Vision had one wondering where all the magical sounds were coming from .Never a harsh sound but a sound that grew and diminished like a great wave of sound that she made us believe Liszt intended.
Eroica ,not the usual barnstorming that we are often submitted to but some real subtle shading added of course to some transcendental piano playing.
We are all aware of the famous recordings by Petri and Godowsky of La Ricordanza but this was equally as poetic and this miniature tone poem ,perhaps the most poetic and complete of all 12 Studies ,allowed the Bosendorfer to sing like the magnificent piano it had once been.
It was like a picture of and old faded foto,full of nostalgia and atmosphere from a bygone age .Or course by great demand of our host Dinara could not disappoint him and so treated us to her unbelievably perfect performance of Feux Follets ,one of the most subtly difficult pieces in the piano repertoire
Making some considerations about Piano Competitions, the other day with reference to the Belgium QE Competition.
Dinara is a case in point as she arrived only into the semi final of this and the Warsaw competition and although she did not win the coveted first prize in Warsaw she did win the audience prize.
She tells me she is also going back to Brussells in these days to play a concert for someone that heard her play during the competition.She was also heard all over the world in both on streaming and who knows what awaits her.
It is also rumoured, so Hugh tells me ,that she is being taken under the wing of another great lady pianist.
So you see talent will out in the end and it is not only the first prize winners that are justly helped, but many other great artists before the public today that have not had that mutlifaceted talent that allows them to excel in the gladiatorial arena but have succeeded to gain an audience through years of extraordinarily committed performances …….It may be of interest some of my recent consideration on this subject. .https://christopheraxworthymusiccommentary.wordpress.com/

A four hour concert at the end of an intensive three days with that master musician Peter Frankl.

Beethoven Chamber Music Masterclass with some real master musicians all British trained for the BPSE,PTS and EPTA under the eagle eye of Alberto Portugheis and Julian Jacobson.

Peter recently celebrated his 80th birthday at Yale where he has been a much cherished mentor of so many distinguished students.Not many people realise,though, that he is actually based in London because we never get a chance to hear him in London any more these days .He is in fact playing all over the world but his adopted city has sadly and unbelievably neglected him .

It is thanks to Alberto Portugheis (about to share his 75th birthday concert with his old friend Martha Argerich at the Wigmore Hall on the 12th December)who was able to convince Peter to catch the bus down to Steinway Hall to share his invaluable experience and musical insight with some extraordinarily talented young musicians.

Four hours of absolute bliss- well almost- in the company of Beethoven in the hands of some remarkable young musical personalities.
An extraordinary young violinist from Guildhall (student of David Takano)Jonel Manciu in the Kreutzer Sonata .As Peter said at the end that although this was a chamber music prize concert such a strong important presence must be recognised with a very special mention .
Of course the finest duo playing of the evening was in fact the last to play Amarins Wierdsma and Edward Liddall both from the Guildhall ( in fact it is not a coincidence that Amarins is in the Barbican Quartet with Jonel Manciu and both students of David Takano).
Demonstrating real duo work in which intense listening to each other and also great physical participation was paramount, like two birds swooping in on each other .It led inevitably to a totally convincing performance of the Sonata for piano and violin Op.30 n.1
Some very fine trio playing with Alexander Kirk (a student of Norma Fisher at the RCM) who lent all his refined musicianship and temperament to his two very fine partners in Beethoven’s surprisingly mature op.1 n.3 Trio.
It is hard and unfair to pick out individual players from such a distinguished group but maybe Tamila Salimdjanova ( a student of Dmitri Alexeev at the RCM) could be singled out for her extraordinary sound and rythmic energy.
It was ,in fact,the ” lads” from Manchester,who had to dash off early to get their last bus home ,who swept us all off our feet with an extraordinarily exhilarating “Ghost” trio.
These three very young youths had digested the rules and regulations and barely needing to even glance at the score were so intent on playing the game, passing the ball from one to another, giving us, the lucky people  present ,an exhilarating exhibition of youthful exuberance and passionate involvement.It was a real lesson to all present on what chamber music is about – a real intense musical discourse amongst equals.
Listening intensely to each other ,not only with their ears but also their eyes and their whole bodies .It was a riveting experience where the visual and aural became one and was indeed the performance that literally swept the board .

A very distinguished gathering for the Silver Jubilee of the Keyboard Charitable Trust in the hallowed surroundings of the Reform Club.

Hosted by Richard and Elena Bridges ,trustee and one of the artistic directors respectively.
As Richard eloquently pointed out a heartfelt celebration for the twenty five years since John Leech decided to consolidate the missionary work of his wife Noretta Conci in spotting,helping and promoting young pianist of exceptional talent.
Her sixtieth birthday present was the official founding of the Keyboard Charitable Trust.
Amazingly this Romeo and Juliet couple are still as active as ever and were at the centre of the celebrations last night.In the presence too of their Patron Sir Anthony Pappano,a great and affectionate admirer of this remarkable couple.
Delighted as Geoffrey Shindler,the chairman, pointed out in his thank you speech,to take a busman’s holiday inbetween a tour of South America with his S,Cecilia Orchestra and his remarkable young protogee Beatrice Rana ,and Mahler Sixth at the Barbican on Thursday with the LSO.
What better way to celebrate, amongst all the distinguished guests gathered to pay homage to them,than a showcase recital for two highly gifted young musicians Mihai Ritivoiu and Emanuel Rimoldi.

Mihai flying in especially from Bucharest where he was performing Prokofiev 3rd piano concerto to substitute his collegue unable to obtain a Russian visa for the occasion .
Emanuel flown in that morning from Miami where he was chosen ,via a chance hearing on streaming from the Tchaikowsky Competition,to play in this very prestigeous series .

Another unexpected event that had the magnificent Steinway of the Reform Club out of order and although a fine old Bechstein as substitute was found it did not have the power or response needed or expected to be able to appreciate to the full our two valiant young musicians.

Mihais refined musicianship carried him through a difficult programme of Schumann op 28 and Ravel Pavane and Gaspard although the instrument not always allowing us to appreciate the subtle artistry that we have come to admire in this young artist.

It was difficult too to fully appreciate the funambulistic pianism of Emanuel in a programme of Liszt’s extremely subtle Aida paraphrase or the ten preludes by Rachmaninov .

However many things to admire from both and much appreciated by the large audience gathered .
An encore of the Rumanian Rhapsody by Emanuel brought the evening to a magnificent end.

A delightful,witty and intelligent speech from Geoffrey Schindler,new chairman of the KCT thanking of course Richard and Elena Bridges and hoping that like all good and noble traditions,that it would continue well into the distant future.
A special thank you to Sir Anthony Pappano ,seated between Noretta and another affectionate admirer Gabriella Bassatne, visibly enjoying his day off to the full.

One should not forget the new venture established by Geoffrey of the collaboration with the renowned Manchester Camerata which will see three of our young lions- Emanuel,Alex Ullman and Iyad I. Sughayer in a series of concerts with the musicians of the celebrated Manchester Camerata,

No stopping the Keyboard Trust that is going from strength to strength since giving a helping hand to its first artist Paul Lewis- now recognised as one of the most distinguished British pianist of his generation .
John ad  Noretta have a lot to answer for and we were all happy to assemble to celebrate and say thank you to this remarkable ” young” couple- recently recognised by the Queen with a much deserved and dare I say long overdue MBE.Long may they reign over us