Katya Grabova was born in Moscow and graduated from the Gnessin School of Music, before beginning her studies at the Royal Academy of Music. She has frequently appeared at the Rheingau Music Festival, Gijon International Piano Festival, “Bezszady bez granic” and the Bowdoin Music Festival. Her programme presents Nikolay Medtner’s rarely-performed Elegies Op. 59, alongside Bartók’s 3 Studies Op. 18 and Ravel’s Gaspard de la Nuit. Promoted by Royal Academy of Music.
we were overwhelmed by Katya Grabova today in the extraordinary line up of stars from the Royal Academy allowed to shine brightly at the Wigmore Hall.
Two Elegie’s op 59 by Medtner immediately showed the sumptuous sounds she would produce all through the concert , and was allied to a sense of line of great clarity even if it can often seem submerged by the maze of notes that Medtner spins. She could steer herself through this maze by accompanying the melodic line with ravishing streams of notes that just illuminated the architectural shape that in lesser hands can seem an empty outpouring. The ending of this first Elegie was of featherlight brilliance with the ravishing colours of pianists of a different age . The Golden age when pianists were also magicians of wondrous sounds. The second Elegie was of refined sensibility with a palette of multi coloured sounds .A cauldron of rhapsodic beauty and a lesson of exquisite style.
Three Studies op 18 by Bartók, where the first was a ‘tour de force’ of broken octaves of turbulence and breathtaking drive. Vibrating sounds of scintillating technical brilliance but always allied to a poetic sensibility of extraordinary mastery. The second was with glistening wafts of liquid sounds played with remarkable fluidity and masterly ease just disappearing into a whispered ending out of which was heard the great opening flourish of the third study . Out of this ‘jack in the box’, compelling sounds were spread all over the keyboard with extraordinary dexterity until a beguiling tenor melody was insinuated under this busy outpouring of devilish intricacies. A ‘tour de force’ where the word study came to mean, like in Chopin, so much more than just stale technical brilliance because allied to a vision of the poetic fantasy of miniature tone poems.
This lunchtime showcase concert ended with Ravel’s Gaspard de la Nuit. Three poems by Aloysius Bertrand : Ondine- Le Gibet and Scarbo, which was Ravel’s intention to write a piece technically even more challenging than Balakirev’s ‘Islamey’ ( that has long been overtaken by Ligeti almost a century later !) .Katya brought a crystalline radiance as the water nymph wallowed in luxuriant waters. A musicianly sense of balance where the melodic line was incorporated into the very harmonic body of the structure and no matter how intricate the washes of sound Katya never lost sight of the water nymph who was allowed to glow with radiance and sumptuous beauty. Deep bass notes as ‘Ondine’ became ever more agitated gave great depth to the sound as cascades of double notes were alternated with etherial glissandi in a magic world of wondrous sounds. The final whispered uttering of ‘Ondine’ was played with remarkable control of sound with masterly pedalling that could create this mysterious last appearance before disappearing into a wash of radiant sounds ( similar to the ending wave of sounds of Chopin’s Barcarolle which Ravel greatly admired). Katya created a quite extraordinary atmosphere of desolate beauty of the Gallows hanging in the sunset in ‘Le Gibet ‘ . Played with a whispered delicacy of poignant poetic significance. I wondered why she arpeggiated the Messianic chords that add such atmosphere to this extraordinary movement. I think it must have been a poetic license , not a small hand span? ,which was compelling and of breathtaking beauty. A single strand of melody was left ( as ‘Ondine’ had been left high and dry earlier ) was of ravishing beauty like a desolate beacon gleaming in such a barren landscape. ‘Scarbo’ just unwound with its three lazy opening notes immediately overtaken by an electric shock of repeated notes that Katya played with remarkably well oiled fingers . This was just the preparation for a piece of mystery and passion ,brilliance and self identification with this devilish world of improvised hi- jinx. Katya played with a mastery that passed unnoticed such was her poetic understanding with the washes of sound of whispered menace that would become outburst of hypnotic exhilaration and searing excitement.
Katya Grabova is establishing herself as one of the most compelling young pianists of her generation.
In 2025, she won the Aspen Piano Concerto Competition, leading to a performance with the Aspen Conducting Academy Orchestra at the Aspen Music Festival. She has performed at major music festivals including Rheingau Musik Festival and Leeds International Concert Season. Her recent appearances include performances at prestigious venues such as the Southbank Centre, Shanghai Concert Hall, the Great Hall of the Moscow Conservatory, the Tchaikovsky Concert Hall, and Lielais Dzintars Concert Hall.
A prizewinner at the Nutcracker International Contest, the Neuhaus International Music Festival, and the Mlody Virtuos Competition, Katya has performed with the Moscow Philharmonic and the Royal Academy of Music orchestras. She was also awarded the First Prize of the Mayor of Moscow Grant in piano.
Katya has worked with a range of esteemed artists, including Dmitri Bashkirov, Michel Béroff, Robert McDonald, Andrzej Jasiński, Katarzyna Popowa-Zydroń, Christopher Elton, Vanessa Latarche, Mikhail Voskresensky, Vladimir Tropp, Vladimir Ovchinnikov, Victor Derevianko, Anton Nel, Soyeon Kate Lee and Ran Dank.
Highlights of the upcoming season include her solo recital debut at Wigmore Hall supported by Royal Academy of Music and a performance of Rachmaninov’s Second Piano Concerto with the Kensington Philharmonic Orchestra.
Katya was born in Moscow and graduated from the Gnessin School of Music, where she studied with Tatiana Zelikman and Boris Berezovsky. She is currently pursuing her Master’s degree with Mei-Ting Sun at the Royal Academy of Music, where she was a recepient of Michael Gilsenan Named Award and holds a scholarship. She is grateful for the support of the Hill Foundation, the Robert Turnbull Piano Foundation, and the Talent Unlimited charity.
Robert Schumann (1810 – 1856): Kreisleriana, Op.16 Ausserst bewegt Sehr innig Sehr aufgeregt Sehr langsam Sehr lebhaft Sehr langsam Sehr rasch Schnell und spielend
F. Chopin: (1810-1849):
Nocturne, op.9 n 1 B-flat minor Nocturne, op 9 n 2 E-flat major
Presented in association with Talent Unlimited
Just one major work on the programme today with two of Chopin’s earliest Nocturnes as encores. Some very expressive, stylish playing from the very first notes. A dynamic drive to the first of these eight tone poems that make up Schumann’s Kreisleriana was played with romantic ardor and subtle rubato. The central episode was a wash of delicate sounds on which the melodic line was etched with refined good taste.
The second piece was played with a beautiful legato where inner counterpoints were very subtly underlined. An improvised freedom with a melodic line of chiselled beauty on a wave of rich internal harmonies. There was a dynamic drive to the Intermezzo I : ‘Sehr Lebhaft’ of contrasting clarity as it wove its way back to the opening. The Intermezzo II: ‘Etwas bewegter’ was played with a rhapsodic freedom that seemed to loose it’s inherent drive in a rather over romanticised outpouring. The intricate counterpoints leading to the return of the opening were played with authority and a sense of line that gave great strength to a passage that can, in lesser hands, sound as though Schumann had lost his way. The whispered return of the opening was played with delicacy adding to the overall architectural shape of this second tone poem that in some hands can seem overlong.
The third piece had a rhythmic bite that contrasted so well with the central episode where voices communed with each other with yearning beauty and romantic freedom. A powerful coda was played with fearless abandon with the final chords of alternating octaves merely wafts of sumptuous sounds. The fourth ‘sehr langsam’ was played with a beautiful singing melodic line within a framework of recitativo freedom, until the clouds lifted and the wondrous beauty of the ‘Bewegter’ was allowed to glow with ravishing tenderness and beauty.
The capricious playfulness of the fifth was gradually transformed into a romantic outpouring of passionate intensity before the opening of the sixth was overheard with its tenor melody of intimate confessions. This contrasted with a strident interruption of ponderous authority played with remarkable rhythmic precision which dissolved into a wondrous rocking melody of delicate beauty.
The seventh shot from Tuccia’s agile fingers but with notes that were linked always to an anchor of harmonies with insistent forward movement. An overwhelming outpouring of dynamic drive that was suddenly curtailed with a coda of wondrous beauty. The final piece I have rarely heard played so clearly because Giuliano gave great importance to the syncopated long held bass notes allowing the limped dance of the right hand to be heard with bewitching significance. The two romantic outbursts were just momentary interruptions to this wisp of a dance that was to lead to the final whispered notes deep in the bass.
The two Chopin Nocturnes op 9 were allowed to fill this very resonant church with a Bel Canto of ravishing beauty and refined style with subtle colouring of sensitivity and whispered radiance..A palette of sounds that drew the audience in to overhear such marvels, as a barely audible trill gradually built in intensity to the sweetest of farewells of the famous Nocturne op 9 n. 2.
Nicolò Giuliano Tuccia is considered by Leslie Howard as one of the most sensitive and interesting musicians of his generation. Born in 1999, he began studying piano at a young age under the guidance of Maestro Giancarlo Peroni. He graduated with honors from the “B. Maderna” Conservatory in Cesena in 2022, winning a scholarship offered by the Rotary Club. He is currently attending the “Incontri col Maestro” Piano Academy in Imola, studying with maestros André Gallo, Alessandro Taverna, and Igor Roma, and pursuing a second-level Master’s at the “Francesco Venezze” Conservatory in Rovigo with maestros Federico Nicoletta and Roberto Prosseda.
He has also refined his studies at summer festivals, masterclasses, seminars, and conferences with internationally renowned maestros such as Edith Fischer, Avedis Kouyoumdjian, Riccardo Risaliti, and Sergio Tiempo.
Giuliano the business man surrounded by fans wishes to purchase his CD’s after his concert
Nicolò Giuliano Tuccia boasts over 50 awards in major national and international piano competitions, including the “Sergio Fiorentino International Piano Competition” (Honorable Mention), “Elevato Piano Competition” (Honorable Mention), “Vigo International Piano Competition” (Semifinalist), MAP International Music Competition in Los Angeles (First Prize), “Kings Peak International Music Competition” (Second Prize and Special Prize), London International Music Competition (Special Mention), Nota Music (Chamber Duo) finalist prize, and many others.
Nicolò Giuliano Tuccia has performed in prestigious venues across Europe and Italy, including the “Galli Theater” in Rimini, the “Alighieri Theater” in Ravenna, the “Atti Theater” in Rimini, the “Foyer Respighi” of the Municipal Theater in Bologna, the Corelli Hall of the “Alighieri Theater” in Ravenna, the “Oratorio San Rocco” in Bologna, the “Masini Theater” in Faenza, the “Prefecture Hall” in Forlì, the “Talia Theater” in Gualdo Tadino, the “Don Bosco Cinema Theater” in Perugia, the “Officers’ Club” in Bologna, the “Raffaello Palace” in Urbino, the “Villa Carcano” in Lecco, the “Vittorio Locchi Boarding School” in Rome, the Main Concert Hall of the Porto Music Conservatory, the “Martin Codax Auditorium” in Vigo, the “Salon Bank” in Vienna, the “Remonstrantse Kerk” in Alkmaar, the “St. Marie Perivale Church” in London, the Main Concert Hall of the University of Musical Semiotics in Helsinki, the Main Concert Hall of the M.K. Čiurlionis Art Gallery in Kaunas, the “Concert Hall” of the Telki Auditorium, the “Eutherpe Hall” in León, the “St. Agatha Cathedral” of the Badia in Catania, the “Villa Rina Auditorium” in Padua, the “Steinway Hall” in London, the “House of Music” in Trieste, the “Martelli House Museum” in Florence, the Candles Factory Theater in Forlì, the Menotti House in Spoleto, the “Beethoven Chamber Music Hall” in Bonn, the Grossersaal Scholss in Bergisch Gladbach, Cologne, the Gartensaal Schloss in Wolfsburg, the Concert Hall of the IIC in Berlin, the Music Room in Rome for Rai Radio 3, and the National Gallery of Palazzo Spinola in Genoa.
Nicolò has participated in numerous festivals, including the “Conoscere la Musica” Festival in Bologna, the “Misano Piano Festival” in Misano Adriatico, the “Ravenna Festival”, the ErConcerti Festival “Le Soirees Musicaux” in Emilia-Romagna, the “Le Note Tra i Calanchi” Festival in Bagnoregio, the “Clivis Umbria” Festival, the “Kaunas Piano Festival” in Lithuania, the “Altalena Music Fest” in Hungary, the “Musical Society” Festival in Helsinki, Finland, the “HIMF” Festival in the Netherlands, the “Roma Tre Orchestra” Festival, the autumn festival at the St. Perivale Church for the Keyboard Trust in London, the “Salon de la Musique” Festival, the “Bellini Festival” in Catania, the Larius International Piano Fest in Lecco, the “Elevato Piano Competition” Festival in Bonn, Vienna, and Porto, the “Amici della Musica di Casa Martelli” Festival for the Young Sound Association in Florence, the Mozart Italy Association Festival in Trieste, the Mozart Italy Association Festival in Lecce, the “Scriabin Concert Series” in Grosseto, and for the “Friends of the Carlo Felice Theater and the Niccolò Paganini Conservatory in Genoa.”
the indomitable Canan Maxton of Talent Unlimited who had invited Giuliano to play today On out way to celebrate at Yisha Xue’s club in St James’s Square photo credit Yisha Xue
Nicolò Giuliano has performed with the Bruno Maderna Conservatory Chamber Orchestra of Cesena, the “Circle Symphony Orchestra” of Padua, the “Rimini Classica” Symphony Orchestra, the “Musici Malatestiani” Ensemble, the “Marco Allegri” Symphony Orchestra, the “Fontana Mix Ensemble” Orchestra, the “Antiqva Metropoli” Orchestra, and the Bergisch Gladbach Symphony Orchestra.
Yisha Xue ( centre in red) who had invited us to her club after the concert. Giuliano and Chiara Bolognesi together with Ballet Critic Simonetta Allder
He has collaborated with conductors Jacopo Rivani, Parvi Shejazi, Antonio Raspanti, Stefano Pecci, Bernardo Lo Sterzo, and Roman Salyutov.
He has recorded for the following record labels: “Doppio Movimento”, “Movimento Classical”, IMD Music & Web, and Halidon.
In 2024, he will be on tour in Poland (Gdansk, Warsaw, and Krakow) with the “Bellini Project” in duo with Clara La Licata, and recording with the prestigious Naxos label with music by Franz Liszt and Julius Benedict. His recitals and CDs have been reviewed by the German journal Piano News, critic Christopher Axworthy, Eero Tarasti on Ampfion, Luca Ciammarughi on Amadeus Magazine, Gisela Schwarz in the “Kölner Stadtanzeiger”, and Robert Matthew Walker in “Musical Opinion.”
Giuliano feeling at home in the sumptuous surroundings of Yisha’s club
He is currently the president of the Forlì Cultura Association and artistic director of the Guido Agosti Festival in Forlì, where he annually invites prestigious pianists from around the world.
A second concert in London in the same month for a young musician who has had the courage to start a concert series in his home town of Forlì dedicated to one of the most important figures in music of the last century . Guido Agosti was born and is buried in Forlì , a disciple of Busoni, the world would flock to his class in Siena every summer to be inspired and reminded of the musical values of an interpreter who is but the humble servant of the composer.
Nicolò Giuliano Tuccia in his second recital in London at St James’s Sussex Gardens began with the Sonata op 10 n 2 by Clementi . A two movement work and one of the 110 sonatas that this ‘Londoner‘ bequeathed to the world. Streams of notes of charm and beauty shaped with the ease of a master craftsman and virtuoso keyboard player. Nicolò not only played the notes with an ease and scintillating simplicity but he also imbued them with colour and beauty with above all an understanding of the overall architectural shape.
The first of Chopin’s nocturnes op 9 n.1 and 2 were played with a ravishing sense of balance where Chopin’s bel canto was shaped with poetic fantasy and beguiling freedom. In fact these five nocturnes reverberated around this noble edifice with a simple glowing beauty and subtle sense of colour . The nocturne op 37 n 1 was interrupted only by a central episode of a chorale of poignant beauty played with aristocratic poise and simplicity.The final posthumous nocturne in C minor was played with a nostalgic beauty and I was reminded that I had used it for our centennial production in Rome of Ibsen’s ‘A Dolls House’ in 1979. It has just that sense of innocent nostalgia that Nicoló captured so beautifully today.
Serenity was soon rudely interrupted by Liszt’s tragic tone poem of Hero and Leander.
The second Ballade in B minor began with the menacing waves of turbulence out of which emerges from the depths a soulful outpouring of dramatic intensity. Passionate cries were contrasted with desolate isolation as Nicoló recounted this harrowing tale with breathtaking daring as cascades of notes filled this church only to be silenced by the soulful beauty of longing and nostalgia.
Alberto Portugheis Simonetta Allder Bobby Chen
A journey that Nicoló could allow to unfold with remarkable unity as breathtaking virtuosity was contrasted with decadent beauty.
Bobby Chen with NicolòSimonetta Allder Rome Ballet Critic and PR for Spoleto Festival Alberto Portugheis with Bobby Chen
Two Preludes by Debussy took us from the desolation of lonesome footsteps in the snow to the joyous Neapolitan festivities with the radiant hussle and bustle which is so much part of Capri, the jewel that shines so brilliantly in the bay of Naples .
T. SVETLOVA: Sonnets No. 1 on the theme of Bach’s Chaconne
MOZART: Fantasy in C minor, K. 475
E. STERN: To-nal or not to-nal, Op. 1
Intermission 30 minutes
CHOPIN: 24 Preludes, Op. 28
Some very beautiful playing in which Madame Stern relied more on striving to find the soul of the music with sounds of fluidity and subtle beauty than the more usual hard hitting accuracy that we are becoming ever more accustomed to these days! It was Anton Rubinstein who declared that the pedal was the ‘soul of the piano’ and it was this which was evident from the very first notes of Tatiana Svetlova’s atmospheric homage to HM King Charles III on his Coronation. A mirage of ravishing sounds where on the horizon could be overheard “God save the King”. Tradition has it that we should stand as for the ‘Hallelujah’ Chorus from Handel’s Messiah. No one moved as they were mesmerised by the glistening beauty that flowed with such beautiful movements from Madame Stern’s hands and arms. It was very noticeable the natural use of the whole of the arm like a ballet dancer, swimming with radiant ease in a magic lake of sounds.
It was the same sounds that she brought to Busoni’s recreation of the greatest work ever written for solo violin and is by J.S. Bach. Ysaÿe had tried to match this masterpiece with six of his own solo violin sonatas but ended up by having to quote from the ‘Dies Irae’ and much else without ever coming near to Bach! Madame Stern played it with the freedom of a composer on a voyage of discovery bringing a great sense of style and individuality to the extraordinary chameleonic changes of character. It was remarkable that even with these excursions to stop and stare that she never lost sight of the architectural shape of this monumental Gothic Cathedral.
confiding with her student and valiant page turner Victor Louis Bak
Tatiana Svetlova’s Sonnet n.1 on the Chaconne theme was another excursion into her atmospheric world of improvised beauty. Moments of sudden outbursts were played with crystalline clarity and rhythmic authority that just contrasted with this world of dreams that Madame Svetlova shares with us so serenely.
Mozart’s C minor Fantasy was played with operatic colouring and a sense of character without any hard edges but with a palette of sounds that brought this masterpiece vividly to it’s operatic life and made us sorry that it could not have been the enticing prologue to the C minor Sonata. Madame Stern’s own play on words and sounds in ‘Tonal or atonal’ she certainly nailed ,and it cleared and cleansed the air before tasting the exquisite wines that Bechstein has in its cellars downstairs.
After such Bacchian delights we were treated to Chopin’s 24 Problems op 28 . This was Fou Ts’ongs description of the Preludes which he, like Cortot , would play in concert together with the 24 Études op 10 and 25 even playing the three posthumous studies as encores. A marathon that Madame Stern had no need to match as she played the Preludes with exquisite sounds and a freedom with a play of balance that illuminated these gems as rarely can happen in larger more exposed spaces. She created in this unique space a sense of intimacy where beauty and style took the place of brutality and brilliance. The final Prelude was a case in point where her pointing of the thumb notes in the left hand with a subtle use of pedal allowed her to shape Chopin’s miraculously mellifluous outpouring with beauty and aristocratic authority rather than brutality and bruising showmanship. Two of her own pieces showed off not only her voice but more importantly her sense of improvisation in which her sudden total conviction and searing intensity ignited the comfort zone that she had enveloped us in before this unexpected outburst of dynamic drive and passionate virtuosity. Her own soothing Lullaby she sang and played and it took us back into the cocoon of beauty and elegance that she had shared with us all evening .
Edna Stern began her studies in Israel with Viktor Derevianko, a student of Heinrich Neuhaus. She continued studying with Krystian Zimerman at the Basel Hochschule and with Leon Fleisher at the Peabody Institute and at the Lake Como International Piano Foundation. Her repertoire ranges from Bach to Berio. Her recordings are highly praised by critics, receiving such awards as Diapason d’Or, Diapason Découverte, Arte Best CD, Gramophone upcoming artist, and Sélection Le Monde. Her last recording, dedicated to Hélène de Montgeroult received a Critic’s Choice of the Year 2017 of the Gramophone Magazine and Choice of France Musique, the French radio.
Edna Stern has performed at prestigious halls and festivals such as the Philharmonie of Paris, Concertgebouw of Amsterdam, Munich’s Hekulessaal, Paris’ Châtelet Theater, Moscow’s Music-House, Petronas in Kuala Lumpur and Musashino hall in Tokyo; performing in solo recitals and with orchestras, with conductors such as Claus Peter Flor and Andris Nelsons. Stern gives masterclasses all over the world, in such places as the CNSM of Paris, Rutgers University, and Tel-Aviv Zubin Mehta School of Music.
She has been a professor at the Royal College of London since 2009 and her musical activities include working with great artists in other art fields, like film director Amos Gitaï, as well as Etoile/Leading principal dancer from the Paris Opera, Agnès Letestu.
Musical Profile
Stern built a reputation as an interpreter who does not shrink from taking strong and unconventional stands and at the same time respectful of the historical tradition of interpretation and the heritage of her own teachers. She is especially known for her Bach interpretation which received awards and critical praise throughout Europe (Gold Diapason, Arte best cd, 10/10 ClassicToday, 4 stars Classica Magazine).
“With Edna Stern we avoid the clichés. Her playing is neither romantic nor baroque. It takes on perfectly the serious tone of the composer without falling into coldness or rigidity. It is at the same time an instrumental revelation and a clear sign that music is indeed alive.” – Mathias Heizmann, Arte/2009
While studying with Krystian Zimerman at the Basel Hochschule in Switzerland, she also took advantage of the famous Schola Cantorum Basilensis and its collection of authentic instruments, developing thus another facet to her musical approach. For the 2010 celebration of the birth of Chopin, Paris’ museum of instruments of the Paris Philharmonie, she was chosen as the pianist to record for their series on the museum’s original instrument, a Pleyel from 1842. This recording was released with Naïve and got enthusiastic reviews:
“The subtle chemistry of a successful Chopin. This CD has eclipsed all that we’ve heard so far in the commemoration of the bicentenary of Chopin’s birth.” – Katchi Sinna, Muzikzen 2010
Her interest in different instruments and sounds set her apart as a Mozart player and her recording of Mozart’s Concerti was chosen in France by the newspaper Le Monde as one of the 10 top CD’s of 2010, and was as well praised in the German and English critique:
“It is fascinating to hear Edna Stern’s perfect, mature and effortless technique, which she does not however use for the purpose of bragging, but puts discreetly at the service of music. She succeeds to the extent of completely disappearing behind the music… developing a whole unexpected wealth of nuances and a variety of tone colors. …a spontaneous joyful playing with beauty and respect: my Mozart- Ideal through this CD has become much closer.” – Bayrische Rundfunk, 2010
“This is an artist with a delicate touch who likes to shape every detail of phrasing and articulation as if polishing a tiny gem.” – Gramophone Magazine, 2011
Edna Stern has a special interest in interpreting and rediscovering forgotten composers. Her recording “Piano of Enlightenment” presented the music of nowadays under-estimated composers such as Galuppi and C.P. E. Bach alongside pieces by J.S. Bach, Haydn and Mozart. Her latest Montgeroult recording published by Orchid Classics was awarded a Critic’s Choice of the Year 2017 by Gramophone Magazine and Choice France Musique.
BBC Magazine writes: “Stern, playing and 1860 Pleyel trumps Bruno Robillard and Nicolas Stavy’s recordings in colour, style and panache. Textures shimmer in the Etude No. 37, the melody speaks eloquently in No. 26 and in the D minor Op. 107, the shades of Chopin Revolutionary Etude are made obvious.”
And Gramophone: “Edna Stern deserves the highest praise for resurrecting it, and has the fleet fingers and sensitive musicianship necessary to make the very best case for it.”
A very meaningful and important program she has been playing these last few years features Sonatas written by Jewish Composers from Theresinstadt. She has been the first to perform and record Karel Reiner’s 2nd Piano Sonata “Victory”. Her performance in New York earned her an immediate invitation to perform in Los Angeles at the Colburn School of Music as part of the “Recovered Voices” project of James Conlon.
Edna Stern recorded fifteen albums spanning the Baroque (3× J.S. Bach, C.P.E. Bach), Classical (Mozart Concerti, Piano of Enlightenment, 3× Beethoven Sonatas, Montgeroult, Johann Simon Mayr Concerti), Romantic (Schumann, 2× Chopin) and 20th century (Fire of Black and White album) periods.
Shunta Morimoto also from the International Piano Academy Lake Como where Edna Stern studied with Leon Fleisher ……
Last night in the National Liberal Club with Nicolò Tuccia and fiancé Chiara Bolognesi who have inaugurated their Guido Agosti concert Series in Forlì , the city where the great disciple of Busoni was born and is buried. Nicolò will play in St James Piccadilly tomorrow Monday 3rd Nov at 1.10 for Canan Maxton’s remarkable Talent Unlimited Trust that helps talented young musicians find concerts in London where Victor Louis Bak had played for her toohttps://christopheraxworthymusiccommentary.com/2025/04/14/homage-to-guido-agosti-gala-piano-series-in-forli-2025/
with Cristian Sandrin co Artistic director the indomitable Mary Orr holding the fort having prepared the programme
Overwhelmed by Chopin playing that has not moved me so much since we awaited Rubinstein’s yearly recitals in London. Can it really have been 50 years ago because it still remains so vividly etched in my memory.
We have heard much Chopin in the past weeks with the competition in Warsaw but nothing comparable to what was heard in the Liberal club last night .
‘Words without thought no more to heaven go’ Nadia Boulanger used to exhort the students that would flock to her studio in Paris . She could not have found a more attentive disciple than Shunta Morimoto as he played with the simplicity and aristocratic mastery of Rubinstein who made the works of Chopin his own, speaking so directly to our heart and soul.
Stanisław Ioudenitch described Shunta Morimoto on awarding the 17 year old boy the Gold Medal in Hastings as the greatest talent he has ever known.
Last night Shunta has come of age and quite simply at 21 he is ready to conquer the hearts and souls of the greatest concert halls worldwide. Much needed in this age of stale CD perfection and as Gilels used to say, live music making is like fresh food compared to the stale canned food perfection of recordings. Public performances are a two way experience where audience and soloist are united in a quasi religious ritual.
Mitsuko Uchida explained in the green room after a memorable concert in Perugia why she was against ‘selfies ‘ or pirate recordings on phones. ‘A performance should remain as a memory that becomes more beautiful with time and not just a printed copy of a moment that will turn brown at the edges with time’. Shunta is no longer part of the circus arena that the International Competition circuit has inevitably become, with its comparative performances between super trained young hero’s. What we heard last night cannot be compared because Shunta takes us with him on a wave of sound and emotion, a voyage of discovery where time stands still as we stop and stare hypnotised by music making that really can speak louder than words…..just as I remember (sic) from Rubinstein.Those present last night will never forget the voyage that this young man shared so generously with us. As Rubinstein so rightly said ‘You cannot teach talent ‘ https://youtu.be/gex0sOR7XZ0?si=WkUGp9eoFYCdkrG1
From the very first notes we were were immediately immersed into a world of drama, fantasy and passionate involvement . The Scherzo in B flat minor was played with an extraordinary range of dynamics which seemed almost like hearing it for the first time. And yet everything was written in the score for those ,like Shunta, who can delve deeply. The ‘sostenuto’ was of whispered beauty ‘sotto voce’ and was played with a stillness and a wondrous sense of discovery. Building to an overwhelming climax that was fearless and breathtaking for its audacity and total conviction.
The Impromptu in G flat was next in his well thought out programme and was played with seductive beauty with an insinuating rubato and the exquisite legato of French elegance. The beautifully expressive tenor melody of the central episode entered as if from afar gradually coming closer with passionate insistence before the magically whispered return of the opening melodic outpouring of elegance and refined good taste. No one dared move as the ominous opening of the Fantaisie was heard in the distance without breaking the spell that had been created. Here was a master story teller where every note had a meaning of extraordinary potency. An explosion of passion and mastery that was at times quite overwhelming. Waves of arpeggios that were mere wafts of sound leading to the carefully placed pianissimi G flat octaves that herald the change of key for the whispered beauty of the ‘Lento sostenuto’. Timeless confessions of extraordinary poetic beauty were suddenly interrupted by a single sharp chord ,as marked quite clearly in the score. An eruption as the first episode returned , but leading this time to a coda and whispered cadenza with an extraordinary pedal effect. William Naboré, Shunta’s mentor for the past five years in Rome, had told me of the effect of holding silently the E flat that allowed the cadenza to reverberate without any pedal and which Shunta played to perfection with ghostly effect. It was the same holding silently of the bass note in the opening of the Polonaise Fantasie that allowed for etherial clarity as the chords were allowed to reverberate over the entire keyboard. A whispered fantasie with the interruption of the Polonaise rhythm but played mezzo forte on a whirlwind of nobility and aristocratic elegance. Coming to a rest with four chords played with golden beauty as the ‘Poco più lento’ opened on a velvet carpet of sumptuous beauty and etherial magic. Trills that became mere vibrations in Shunta’s poetic hands as this extraordinarily original work built to the climax that was played with fearless abandon and mastery.
After a short interval Shunta returned to play the twenty four preludes op 28. Fou Ts’ong may have described them as twenty four problems but Shunta played them with extraordinary poetic mastery. Of course the sixteenth was no problem for Shunta who played this brilliant étude as a searing mass of smouldering energy. It was the fourth and the seventh that was so remarkable, though, where so few notes could mean so much . The deep bass notes of the seventeenth I have never heard played with such depth and meaning just as the twenty fourth was not melody and accompaniment but a whole cauldron of passionate urgency. There was a radiance and simplicity to the ‘Raindrop’ Prelude where his incredible control of sound in the central episode made the return of the melody even more expressive and radiant. A ‘tour de force’ of mastery and poetic understanding combined with an intelligence that could delve deep into the score and find unexpected beauty.It was as though the so-called Chopin tradition had never existed, and it was just Shunta and Chopin recreating the music as if the notes were still wet on the page. Two waltzes op 42 and op 70 n. 3 were offered as encores to a very enthusiastic audience, and were played with impeccable style and beguiling insinuation. A refined palette of colours that could recreate these miniature masterpieces with imagination and aristocratic style.
Continuing his annual tradition of Masterclasses at Steinway Hall in London and this year presenting two young EPTA award winning pianists from his annual class in Buenos Aires.
Together with four brilliant pianists based in London, il Maestro of Maestros shared not only his immense knowledge of the musical scores but also the extraordinary humanity that this remarkable renaissance man has been sharing with the world for a lifetime.
Just a week ago he was celebrating here with his lifelong friend Martha Argerich , gathered thanks to the generosity of Steinways in an after birthday concert reception for the 85 years of their close friend Stephen Kovacevich.
on stage at the Wigmore Hall birthday celebration for Stephen Kovacevich in this photo with Martha Argerich
Next year Alberto and Martha will be celebrating their coming of age too, but in the meantime these eternally youthful musicians are sharing their remarkable musicianship with a world where quantity seems always to take precedence over quality.
Followed by Parvis Hejazi a graduate of Norma Fisher at the RCM playing Haydn’s B minor sonata with refined good taste with a sparkling jeux perlé and ornaments that were highly wound springs glistening like jewels in a prism . Unleashing, on an unsuspecting public, the Prokofiev third sonata with dynamic drive and burning intensity. https://christopheraxworthymusiccommentary.com/2025/07/12/norma-fisher-the-making-of-a-legend/
This was complimented by the exquisite good taste of Roxanna Shini Mehrabzadeh with the poetic refinement of two of Chopin’s most flowered canons . A languid beauty to ‘The Maiden and the Nightingale’ was followed by a Sorrowful springtime song by Rachmaninov alla Earl Wild .
With such a pedigree it came as no surprise what musicianship he brought to Schumann’s teasing twins, whilst trying to unite them in their eighteen dance steps together of Davidsbündler. Giving a strong bass anchor to the proceedings as he managed to create a unified whole of ravishing beauty and extraordinary characterisation.
Another first time visitor to London, the Argentinian Esteban Arámbulo, playing THE prelude by Rachmaninov. A work rarely heard in the concert hall these days , but that Rachmaninov was obliged to offer to his audiences if he wanted them to leave the hall! A majestic performance of aristocratic authority that was preceded by Debussy’s miraculous depiction of ‘Reflections in Water’ that eventually his golden fish would wallow in, during his six ‘images’ etched with ethereal beauty.
Gabrielé Sutkuté closed the concert with three of Beethoven’s early baubles that she truly turned into gems! A masterly performance of Szymanowski’s early Variations where passion and intelligence were united with dynamic drive and searing commitment.
What a celebration of the values that this Renaissance man so generously shares with young musicians every year, thanks to the generosity of Wiebke Greinus ,concert manager of Steinway London.
with Bruno Leonardo Gelber at the awards ceremony in ArgentinaI am very happy to have received this Diploma of Honour from the Senate of Argentina in recognition of HUFUD’s work
Steinway & Sons are about to celebrate their 150th anniversary on the 13th November in this very hall where the sound of sumptuous music making from Vinkingur Olafsson and many of his illustrious colleagues will resound to the popping of Champagne corks .
Playing of controlled brilliance and poetic beauty of yet another member of the remarkable McLachlan clan. Murray, Callum, Rose and now Matthew. Mother Katherine Page McLachlan in the wings keeping order when not playing in a duo partnership with Murray! Matthew’s younger brother Alec is on a sports scholarship at New York University , but his father tells me he plays a ‘mean’ Bach Prelude and Fugue when not being a star goal keeper! Matthew ,too, had to make a choice to pursue his boxing or piano skills. As we can appreciate today he made the right choice! Musicianly playing of authority which he has obviously acquired from his studies with Dina Parakhina where also his advocacy of the works of Medtner was born.
A Scarlatti sonata played with clarity and sparkling brilliance with ornaments just adding to the continual outpouring of ‘joie de vivre’. Matthew played it with an infectious rhythmic energy that gave a great sense of dance to this the first of what was to be over five hundred Sonatas.
The three Fairy tales op 9 by Medtner were played with sumptuous rich sounds contrasting so well with the innocent purity of his Scarlatti. Matthew brought a remarkable sense of shape and line to a composer that can, in lesser hands, seem very meandering and over endowed with notes. The first and longest was played with romantic fervour, bursting into a rhythmic central episode deep in the bass before returning to the opening romantic outpouring of even more intensity . The second was of eloquent beauty and was played with a glowing purity. The third was gently rocking and rhapsodic played with golden sounds of etherial beauty.Three remarkable miniatures rarely heard but of which Matthew was a very persuasive advocate even if he had to tell the audience when he had finished! Medtner is gradually making his way into the concert hall thanks to the untiring work of Dina Parakhina and her students.
Pour Le Piano is an early work of Debussy and the opening Prelude had a beautifully etched tenor melody over a flowing accompaniment of almost baroque style seen through a romantic lens. Matthew allowed the music to unfold with atmospheric beauty as it built to a noble climax of aristocratic chords with glissandi embellishments that just added to the exhilaration . Gradually dying away to a rumbled whisper on which chiselled notes were allowed to float with magic and beauty leading to another noble outburst and the sumptuous aristocratically played final chords. Matthew brought a poignant glowing beauty to the Sarabande with the yearning of the gently played leaning appoggiaturas. A beauty and a desolation of noble sentiment ,with playing of refined sensibility. The Toccata was played with controlled brilliance with great clarity and an overall enticing architectural shape.Washes of arpeggios spread over the keyboard as a melody was heard in the tenor register with subtle innuendo with a mass of harmonies spread over the entire keyboard bringing this Toccata to a brilliant finish with a ‘tour de force’ of controlled technical mastery.
The Schubert Wanderer Fantasy I have heard Matthew play recently ( see review below) and it was today another performance of youthful brilliance combined with poetic beauty. A work that had created a new form where classical and romantic invention could live happily together with the transformation of themes like characters in an opera. It was to inspire Liszt and in turn of course his son in law Richard Wagner with the so called ‘leit motif’. An exhilarating opening where Lisztian brilliance is combined with Schubertian lyricism. Sumptuous rich sounds to the Wanderer- Adagio as the variations were allowed to unfold with radiance and beauty. Passion and refined brilliance combined with golden streams of jeux perlé in a long outpouring that was simply the exultation of beauty. Gradually building to a passionate climax leading to a very measured Scherzo that Matthew played with Brahmsian orchestral sounds. Lisztian brilliance combined, of course, with Schubertian elegant lyricism. The final ‘Fugato’ was played with grandiose authority and noble brilliance. A remarkable control, as the excitement rose, which gave great strength to this final outpouring of exhilaration and technical brilliance.
An encore of two movements of a Haydn Sonata showed off Matthew’s refined musicianship and sense of style .
Chetham’s School of Music alumnus Matthew McLachlan was awarded the C. Bechstein scholarship to continue his studies at the Royal College of Music with professor Dina Parakhina. Recipient of numerous awards, Matthew has performed as concerto soloist and recitalist in Poland, Serbia, Italy, Spain, Germany, France and throughout the UK. In July of 2021 Matthew was awarded 1st prize in the Royal College of Music Chappell Medal piano competition and the Esther Fisher prize for best undergraduate performance. In 2023, Matthew was a finalist in the Isidor Bajic International Piano Competition and awarded 1st prize in the Bromsgrove International Musicians Competition.
Some very musicianly playing from this nineteen year old pianist that was immediately clear from his very intelligent playing of Mozart’s C minor fantasy. A sense of measure with playing of crystalline clarity and simplicity but also with a great sense of drama . Some very expressive, deeply felt playing of mature musicianship that was beautifully shaped but with a real sense of style. His well oiled fingers allowed him to play the stormier passages with great control and authority and his sense of architectural shape gave poignant meaning to this improvised masterpiece of Mozart.
There was a crystalline clarity also to his Scarlatti playing of rhythmic energy and character. Ornaments that sprang from his fingers like tightly wound springs but were part of the beautiful shape and slight musical hesitancy that brought this jewel vividly to life.
A good flowing tempo from the beginning of the Chopin Fantasy where the melodic line was allowed to sing with a beautiful legato and inner colours very discreetly underlined. The improvisatory arpeggios were allowed to unwind with poetic fantasy as they gradually lead to the passionate outburst of melodic effusion and octaves that were played with masterly control and passionate brilliance. A very atmospheric diminuendo for the entry into the central episode that was played with simplicity and beauty with a very telling rubato that allowed the music to speak so poignantly. Chopin’s final pedal effect was judged to perfection before a golden web of arpeggios brought this very original work to an ending of aristocratic nobility.
Rachmaninov was played with great sensitivity and a melodic outpouring of glowing purity. As the tension rose there were sumptuous sounds and remarkable technical control as he shaped this Etude- Tableau with knowing poetic understanding .
Schubert too was played with crystalline clarity but with a very expressive melodic line always beautifully phrased .There was a remarkable sense of balance as the passionate central episode was allowed to unfold with simplicity and deeply felt expression.
The early Debussy ‘Pour le piano’ was ideally suited to this young man’s crystalline technical mastery and passionate conviction. The Prelude was allowed to unwind with a poetic shape as it built to the brilliant climax of glissandi and great declamations . There was also a kaleidoscope of sounds as high notes of chiselled beauty were spun over a shimmering agitated accompaniment as the Prelude built to a final triumphant ending. The Sarabande was played with great style and beauty as he created a magic atmosphere with poetic colouring and expressive pedalling. The Toccata was played with masterly control and brilliance.Splashes of colour swept across the keyboard as the tenor melody was heard with insinuating poetic insistence. A passionate outpouring of sumptuous sounds, played with passionate commitment but always with masterly control.
Born in 2006, Enoch Wong studied with Christina Kwok (2014-2020) in Hong Kong. After moving to the UK, he is based in Bristol and studying with Robin Green (since 2021) both privately and at the junior conservatoire of Royal Welsh College of Music and Drama. He has received additional coaching from various pianists such as Julian Jacobson, Prach Boondiskulchok and Ronan O’Hora as well as chamber musicians such as Krysia Osostowitcz, Catherine Manson, Helena Winkelman, Christoph Richter, Robin Ireland, Marie Bitlloch and Ursula Smith.
Enoch is a passionate pianist with a strong love for Haydn, Beethoven, and chamber music. He has gained invaluable chamber music experiences at courses like Music Works and Music Embodied. He made his concerto debut with the orchestra of the junior conservatoire of Royal Welsh College of Music and Drama, performing Rachmaninoff 2, as a result of winning the junior concerto competition at the college.
The British Institute are thrilled to present the next rising star from the Keyboard Trust, Sicilian-born Alessio Masi.
with Simon Gammell OBE director of the British Institute
Programme
François Couperin – Les Barricades Mystérieuses Johann Sebastian Bach
Sinfonia No. 11 in G minor, BWV 797 French Suite No. 5 in G Major, BWV 816
Allemande Courante
Sarabande Gavotte Bourrée Loure
Gigue
Wolfgang Amadeus Mozart – Sonata No. 12 in F Major, K.332 Allegro Adagio Allegro assai
Nino Rota: Variazioni e Fuga nei dodici toni sul nome di Bach Sostenuto un poco liberamente I. Mosso, deciso II. Tranquillo, scorrevole III. Allegro vivace IV. Adagio V. Allegro VI. Andante VII. Allegro vivace VIII. Poco meno mosso, con libertà d’andamento IX. Andante tranquillo X. Allegro vivace XI. Sostenuto poco, maestoso XII. Lo stesso tempo, agitato Fuga: Largo – Moderato e tranquillo
A room with a view that I have rarely seen so full as for the recital by the young Sicilian pianist Alessio Masi. Mentored by Roberto Prosseda, graduating with honours in Italy, he is now completing his studies at the Manhattan School of Music in New York. A flying visit with concerts in Rome and Florence where his passionate advocacy for the works of lesser known Italian composers was very much in evidence. He has been busy recording the original piano works by Nino Rota and his programmes included the rarely heard Variations and Fugue in 12 keys on the name of Bach.
An eclectic thinking musician he even included as an encore two enticing waltzes on the name of Bach from Rota’s Suite Casanova di Fellini . He had played the entire suite in Rome the day before but in Florence he presented a more varied programme that included Couperin, Bach and Mozart . Works that with his intelligent musicianship he could enjoy adding improvised embellishments giving a new lease of life to such well known works. All done with refined good taste of delicacy and elegance that held us spellbound as he revealed a kaleidoscope of colours in this noble 1890 Bechstein that sits in this room with a view (rainy today) surrounded by the books of the Harold Acton library.
Simon Gammell OBE presenting the concert
Beginning with Couperin’s beguiling ‘Barricades Mystérieuses’, a work that has long been part of the encore repertoire of Grigory Sokolov . Today there was the vision of a thinking musician who had taken the ‘mystérieuse’ very much to heart. Instead of the more usual web of intricate sounds and ornaments like tightly wound springs, Alessio played with a whispered elegance with ornaments that did just that, and sparkled like jewels rather than blinding headlights. There was a gentle relaxed flow to the music that was shaped with unusual flexibility and freedom with some wonderful bass notes that I had never until today been aware of. Strands of counterpoints or different voices each one with a life of it’s own combining to create this miniature tone poem. There was the same gentle whispered sounds that this vintage instrument was only too happy to accommodate under such sensitive hands, in the Bach Sinfonia in G minor. Sounds produced with delicacy and subtle shaping with never any brittle hard edges but nevertheless with a strong backbone of poetic authority. Here Alessio defined a refined duet between the voices.
Alessio explaining his choice of works
Not wanting to break this pastoral atmosphere the ‘Fifth French Suite’ entered on the wings of the radiant beauty that had been created. I have a feeling we should not have applauded, even after the Couperin, because this sensitive poet of sounds with these three works wanted to create a single unit before the entry of the operatic marvels of Mozart. Bach’s ‘Fifth French Suite’ is surely one of his most beautiful and like the ‘First Partita’ exudes beauty and simplicity from the very first notes. It was within the same atmosphere that Alessio had created, that the ‘Allemande’ unfolded with its pastoral beauty and with Alessio adding delicate ornamentation with knowing refinement. Suddenly the atmosphere changed and we were immersed in a brilliant ‘Courante’ springing to life using the bass notes as an anchor for this busy web of notes. It contrasted with the simple sublime beauty of the ‘Sarabande’ played with aristocratic finesse and ornaments that shone like jewels. He brought beguiling charm to the ‘Gavotte’ with his spirited joyous ornamentation too . The ‘Bourée’ sprang into life with great rhythmic energy that almost caught Alessio unawares. The strange questioning of the ‘Loure’ was where Alessio’s disarming simplicity and delicacy spoke louder that words. It wove it’s way to the rhythmic refined energy of the Gigue that was given an architectural shape and insinuating inevitability.
Greeted now by applause from a public who he had led into this magic world of elegance and poetic meaning and to an age where reason and measure were of fundamental importance. We were being prepared now for the age of the human voice and stage drama of which Mozart was the guiding genius of his age. The Sonata in F is like an opera with its characters so well defined with their changes of moods and the differing scenes. In Alessio’s sensitive hands we could almost see the characters entering the stage with a multitude of differing personalities. Mozart played with perfect equilibrium where once the scene was set we were in a sound world almost as if we were on stage and everything was in perfect proportion. A sound world that Alessio had found hidden away in this instrument that he certainly would have had difficulty finding on the modern day Fazioli that he had in Rome the night before.
It was Chloe Jiyeong Mun playing all of Schubert’s Impromptus in this hall who declared that it was on this vintage instrument that she felt most at home and able recreate with poetic simplicity the genial outpourings of Schubert.
The Mozart F major sonata K 332 opened with flowing simplicity and very delicate phrasing with feeling for orchestral colour and the tonal palette of a chamber ensemble. Mischievous ornaments were added on the repeats as Alessio was recreating this almost operatic experience and having such fun giving each character a life of its own. The Adagio was beautifully phrased with great delicacy and poignant beauty. The Allegro assai just shot from his well oiled fingers with an infectious ‘joie de vivre’ and Mozart’s little trick false ending did not catch out the learned audience of the British, who were listening to every note with rapt attention.
A complete change of mood and colour from the very first flourishes of Rota’s Variations. Playing of absolute authority and burning conviction with a range of sounds that truly illuminated this instrument that had been reconditioned in 2008 by Mrs Mary Foreman, one of the members of the British Institute, with the idea of bringing music to this beautiful ‘Room with a View’.
It has taken time and courage for the genial director and his wife Simon and Jennifer Gammell and their dedicated staff to respect her wishes and establish the Harold Acton Library as the ideal place to enjoy real music making. With not a little help from the Keyboard Trust a chance has opened up for exceptionally talented musicians to perform in the city where the Renaissance was born.
An after concert supper and work conference in the Belguardo Osteria downstairs. Wishing our most fervent admirer Sir David Scholey a quick recovery and return to the music that he has championed so generously for so long.
Artistic director and President of Roma 3 Orchestra
Alessio Masi was born in Sicily. In September 2025, he began his Professional Studies course at the Manhattan School of Music in New York, studying with Daniel Epstein. He has been studying piano with Alessandra Ammara and Roberto Prosseda in Italy. Alessio has attended masterclasses with Roland Pöntinen, Inna Faliks, Jed Distler, Maria Narodystka, William G. Naboré, Alexander Malofeev, Andrea Lucchesini, Pietro De Maria, Maurizio Baglini and others. He won First Prize in the Hermès for Talents Competition, which granted him a three-year sponsorship from Hermès Italia and a European tour organized by the H.Y.T.A. project. He also attends the Verbier Festival Academy annually. Alessio was awarded the Second Prize, the Audience Prize, and a Special Mention for the performance of a contemporary work at the Premio Brunelli in 2025. This recognition also marked his début at the Teatro Olimpico in Vicenza where he was the soloist in Beethoven’s Fifth Piano Concerto. Alessio has performed in numerous prestigious venues and theatres in the UK, Portugal, Spain, USA, Germany and Italy, sharing his interests in Italian piano music and the musical legacy of Bach through recitals of music with strong thematic connections. In 2025, his album dedicated to the piano music of Nino Rota will be released on the Brilliant Classics label. Alessio is also active as a composer and will soon release his first album of original piano music.
Composer Nino Rota (1911 – 1979) was born into a family of musicians in Milan. He was initially a student of Giacomo Orefice and Ildebrando Pizzetti until he moved to Rome while still a child and completed his studies under Alfredo Casella at the Conservatory of Santa Cecilia in 1929. In the meantime, he became an enfant prodige, famous as both a composer and a conductor. His first oratorio, L’infanzia di San Giovanni Battista, was performed in Milan and Paris as early as 1923, and his lyrical comedy, Il Principe Porcaro, was composed in 1926.From 1930 to 1932, Rota lived in the U.S.A. He won a scholarship to the Curtis Institute of Philadelphia and studied composition under Rosario Scalero and orchestra under Fritz Reiner.
Rota returned to Italy and earned a degree in literature from the University of Milan. In 1937, he began a teaching career that led to the directorship of the Bari Conservatory, a title he held from 1950 until his death in 1979.After his ‘childhood’ compositions, Rota wrote the following operas: Ariodante (Parma 1942), Torquemada (1943), Il cappello di paglia di Firenze (Palermo 1955), I due timidi (RAI 1950, London 1953), La notte di un neurastenico (Premio Italia 1959, La Scala 1960), Lo scoiattolo in gamba (Venezia 1959), Aladino e la lampada magica (Naples 1968), La visita meravigliosa (Palermo 1970), and Napoli milionaria (Spoleto Festival 1977).
He also wrote the following ballets: La rappresentazione di Adamo ed Eva (Perugia 1957), La Strada (La Scala 1965), Aci e Galatea (Rome 1971), Le Molière Imaginaire (Paris and Brussels 1976) and Amor di poeta (Brussels 1978) for Maurice Bejart.
In addition, countless of Rota works are performed worldwide.
Rota’s work in film dates back to the early forties and his filmography includes virtually all of the noted directors of his time. The first of these is Federico Fellini. Rota wrote the scores for all of Fellini’s films from The White Sheik in 1952 to The Orchestra Rehearsal in 1979.
Rota also collaborated with other directors, including Renato Castellani, Luchino Visconti, Franco Zeffirelli, Mario Monicelli, Francis Ford Coppola (he received the Oscar for Best Original Score for The Godfather II), King Vidor, René Clément, Edward Dmytrik and Eduardo de Filippo. Additionally, he composed the music for many theatre productions by Visconti, Zefirelli and de Filippo .He is best known for his film scores, notably for the films of Federico Fellini and Luchino Visconti. He also composed the music for two of Franco Zeffirelli’s Shakespeare screen adaptations , and for the first two installments of Francis Ford Coppolas’s The Godfather Trilogy , earning the Academy Award for the Best Original Score for The Godfather Part II in 1974
A prolific composer :
Music for pianoforte
1919: Il Mago doppio – Suite per quattro mani
1920: Tre pezzi
1922: Preludio e Fuga per pianoforte a quattro mani (Storia del Mago Doppio)
1924: Illumina Tu, O Fuoco
1924: Io Cesserò il Mio Canto
1924: Ascolta o Cuore June
1925: Il Presàgio
1925: La Figliola Del Re (Un Augello Gorgheggiava)
Another fascinating programme from this eclectic master pianist who has shone a light on many neglected works over the past few years and as Semprini used to say playing : ‘Something old,Something new’. A sandwich of two second sonatas by Scriabin and Chopin with a sumptuous filling of six studies . Two Russian , two Hungarian and two Ukrainian . Nothing political but simply a coincidence and what it is.
From the very first notes of Scriabin’s ‘Fantasy’ Sonata there was a fluidity of natural hand movements on the keys that conveyed so well the rhapsodic nature of this opening movement . A luminosity to the sound with a luxuriant melodic outpouring of beguiling rubato and timeless beauty. A wondrous sense of balance that allowed the melodic line to pass from one register to another without ever disturbing the flowing golden arabesques in which they were so warmly wrapped. There was a musicianly sense of line to the second movement that in lesser hands can seem like a study. Patrick showed us washes of colour and changing harmonies opening up to one of those sumptuous Tschaikovskian melodies that was very much part of Russian pre revolution opulence and style.
Lyapunov was a study in beautiful glowing cantabile that was played with sumptuous style and gloriously rich sonorities with a featherlight cadenza and ravishing accompaniments.
Ligeti on the other hand was a continual perpetuum mobile stream of notes that Patrick managed to shape into an extraordinarily atmospheric sound world. A technical mastery that allowed him to give a sense of line and shape to these spider webs of notes.
The Etude Tableau by Rachmaninov is often known as the ‘Red Riding Hood’ study because of the terrifying interruptions with gusts of notes. It was played with brilliance and character. There was a remarkable bass melodic line as the temperature rose to fever pitch only to dissolve to one last fearful gasp.
The Kapustin jazz study in thirds showed Patrick’s transcendental mastery as double thirds were shaped into a non stop stream of jazz excitement with breathtaking and breathless brilliance. He was able to throw off the ending with nonchalant ease that brought a smile even to his face.
Tchesnokov’s Etude ‘La Neige II’ is a remarkable tone poem that begins with beautiful suggestive tremolando sounds on which are placed clusters of notes like boulders falling on the keys.It created a desolate atmosphere that built to a tumultuous climax and enormous sonorities that spanned over the entire keyboard. A really original work that deserves to be better known as it even anticipates the hypnotic repetition of bells of Steve Reich .
Liszt Chasse Neige is the last of the transcendental studies and it was very interesting to see it played in this context with that of Tchesnokov. It is a masterpiece of painting a picture in sound – exactly like Rachmaninov’s Etude Tableaux. Patrick played it with a remarkable sense of balance where the melodic line rose above the tremolandos creating an overall kaleidoscope of sounds with a sense of control no matter how passionate and sumptuous the climax.
Chopin’s Second Sonata is one of the composers greatest works even though Schumann at the time described the sonata as ‘four of his maddest children under the same roof.’ Describing the last movement :’ seems more like a mockery than any sort of music’. Patrick played the first movement with aristocratic authority with the ‘doppio movemento’ rather slow and measured but that contrasted so well with the second subject that he allowed to unfold with beauty and style. Adding an occasional bass note to give more depth to the sound as he quite rightly ignored the much debated repeat and went straight into the development that he played with grandeur and masterly control. The ‘Scherzo’ was played very rhythmically and clearly with absolute technical assurance that contrasted with the trio where he allowed himself an unusual freedom with playing of ravishing beauty. A flowing Funeral March of poignant beauty was contrasted with the trio of unusually expressive freedom and passionate intensity. The last movement was played with great clarity as the wind blew over the graves . He phrased the whirlwind of notes in such a musicianly way but that did in the end interrupt the continual flow of this extraordinary movement .
Screenshot
Patrick Hemmerlé is a French pianist based in Cambridge, UK, known for his intellectually rich programming, technical mastery, and commitment to rediscovering overlooked repertoire. Trained at the Conservatoire de Paris, where he won First Prize under Billy Eidi, Hemmerlé went on to study with several distinguished pianists including Joaquín Soriano and Eric Heidsieck, shaping a style that combines French elegance with analytical depth.
Hemmerlé’s performances span major cultural centres across Europe, China, and the United States. As Musician-in-Residence at Clare Hall, University of Cambridge, he curates the Intimate Engagements concert series and regularly gives masterclasses and lecture-recitals. His programming often explores large-scale cycles—such as the 24 Chopin Études or Bach’s Well-Tempered Clavier—and unusual pairings, including Beethoven’s Diabelli Variations alongside Bach’s Goldberg Variations. These innovative formats have earned him praise for both conceptual originality and interpretive insight.
He is a passionate advocate for underrepresented composers such as Novak, Roger-Ducasse, and Tchesnokov, several of whom feature in his discography on labels including Orpheus and Indésens. His 2023 recording project paired Bach with Fischer’s Ariadne Musica, highlighting the deep connections between these two composers.
Alongside his performance career, Patrick Hemmerlé is a dedicated teacher and musical thinker. He gives masterclasses and lecture-recitals in the UK and France, and his academic role at Cambridge allows him to engage students and audiences in discussions about structure, interpretation, and musical context. His concerts often include spoken introductions or in-depth programme notes that reflect his commitment to fostering deeper listening.
Critics have praised Hemmerlé’s performances for their “sheer brilliance and intellectual strength,” often drawing comparisons to pianists like Nelson Freire and Guiomar Novaes. Whether in recital, on disc, or in the lecture hall, he offers audiences an experience that is as thoughtful as it is musically compelling.
“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
15th October 2025 @ 1:00 pm – 2:00 pm. A private recital at the home of Jane Guerin in Philadelphia.
Vladimir Petrov in Delaware, USA
17th October 2025 @ 7:00 pm – 8:00 pm. Cokesbury Village, USA 726 Loveville Road, Hockessin, DE,
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’
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
Castleton-Vladimir_Petrov with Dietlinde Maazel- Wood and in Lorin Maazel’s studio
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…
Castleton Vladimir Petrov Lorin Maazel’s music studio Castleton Vladimir Petrov
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
Castleton Vladimir Petrov
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.”
Experience a night of transcendent sound with acclaimed pianist Vladimir Petrov at the Arts Club of Washington on October 13th. Join us for an unforgettable evening, followed by a meet-the-artist reception. Let’s celebrate music together!
‘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
with Caroline von Reitzenstein
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 .
Watch VLADIMIR PETROV, currently on the Keyboard Trust US Tour, live from Klavierhaus in New York this evening – Sunday 19 October – at 7pm (BST).
ChristopherAxworthy-MusicCommentary 