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A near capacity house for the young british pianist Alexander Ullman building quite a reputation for his refined piano playing .

A truly “Grand”piano from Dinara Klinton at the Wigmore Hall tonight for the Musicians`Company Concerts . Affectionately known by her collegues as Miss Feux Follets for her performances of one of the most difficult piano pieces that has astounded all that have heard it. It had the great pianist Emanuel Ax in a fit of laughter in his Masterclass at the RCM some months ago. Incredulous laughter from one if the worlds finest pianists ,no greater compliment is possible. But Dinara is,much more than that as her performance of five of Liszt’s Transcendental Studies ,two Scarlatti Sonatas and Prokofiev Sarcasms showed. Rarely has the Wigmore Steinway sounded so “Grand”. Maybe not since Raymond Lewenthals marathon Liszt/Alkan recitals in the 60`s have we been treated to such a sumptuous sound . Truly a grandioso piano sound so rare these days. But not only because of the phenomenal dexterity of this young artist but because there is much more besides as we were made gloriously aware of in the slow Paysage study.Or the beauty of sound and colour in the Scarlatti sonatas. Maybe the same rhythmic energy as in the more dextrous pieces was slightly missing in Paysage but the glorious sound more than made up for it and was obviously as the artist intended. Amazing performances of Mazeppa and of course Feux Follets will have me searching for her new CD of the complete Transcendental Studies. Prokofiev Sarcasms showed of all her vast range of sound and tone colour and the rhythmic energy had me running for the door at the end to avoid the beautiful flute and piano duo with which she incredibly shared the platform but had no place here. Some very fine duo playing from a composer pianist,Pavel Timofeyevsky, who seemed to be improvising he was so into the music and a very fine flautist,Anna Lugovkina, but unfortunately Dinara,a real lion of the keyboard just swept all others aside on this occasion

A memorable afternoon at the RCM in the company of Sir Andras Schiff……..music just poured out of him as he shared his secrets with the remarkable young pianists Martin James Bartlett (Schubert op 90 n.2 e 3),Alexander Ullman (Haydn Variations in F)and Hin-Yat Tsang (Schumann Humoresque op 20) Useless to try and put into words what we have all experienced this afternoon .Maybe one word ” inspiring” would suffice and all thanks to the remarkable team at the RCM headed by Vanessa Latarche. Reading Hin Yats remarks as to Andras Schiffs magic world of imaginary marches not the Red Army ,Goblins and singing part of Dichterliebe to open up a whole magical fantasy world. Reminds me of Nadia Boulanger’s famous saying from Shakespeare’s Twelfth Night “Words without thought no more to heaven go”. And while these very fine musicians are perfecting their craft at the piano it is good to be reminded that it is a means to an end which must always be “music” ….to make it speak. I well remember Nadia Boulanger when I was a student at the RAM reminding us always of this via that line from Shakespeare and telling us that you could write a book about the passion and feeling in Mr Stavinskys music. As I am reminded today of a fourteen year old hungarian boy appearing in Dartington to take part in masterclasses ,as a student this time,by another remarkable musician Andre Tchaikovsky who had been asked especially to look out for this exceptionally talented young boy. Andre always had an impish sense of humour and so when Katie Kennedy presented the early Brahms E flat minor scherzo op 4 ,unknown to Andre but not to Andras who flaunted his knowledge in hearing distance. So Andre just said you teach it to her leaving this rather timid young boy to play the part of Master much to his embarrassment. But when Andras Schiff played Chopin third ballade there was no doubt that here was already a remarkable musician. Although he did not win the Leeds Competition in the year that neither did Mitsuko Uchida it says reams for turning music into an almost olympic sport – his performance, at the competition , of Papillons is history. There can be no doubt in anyones mind today that we are indeed privileged to be in the company of one of the most complete musicians on the world stage today.

Evgeny Genchev and Martin Ivanov at the Bulgarian Cultural Institute on London this evening.

The young Bulgarian pianist Martin Ivanov in recital at St.James`s Sussex Gardens today. Beautiful church with a good Boston piano .A new venue that is starting to make a name for itself for the quality of its concerts. This week already two fine young Bulgarian pianists Evgeny Genchev and Martin Ivanov and on the 23 April the distinguished veteran pianist Paul Badura Skoda at the age of 88 will give a recital including Beethoven`s last sonata Some very refined playing from Ivanov especially appreciated was his subtle poetry allied to sophisticated jeux perle so rarely found these days and reminiscent of the so called Golden Age of piano playing as of Magaloff,Bolet or indeed Rosenthal and Lhevine. Starting the recital with Liszt`s transcription of the Gounod Faust Waltz once again full of subtle poetry but also never lacking in the transcendental virtuosity when required. Of course the refined subtle poetry of some waltzes and nocturnes of Chopin were ideally suited to this young pianists notable artistry. The nocturne in D flat was allowed to sing in a simple natural way as only maturity can allow. In fact this young pianist seems born to play the piano, as was obvious from the moment he sat down at the keyboard . Never a moment of doubt from fingers that seemed to belong to the keys they were caressing with such finesse. The A flat Polonaise revealed all the heroism necessary to bring this remarkable recital to a rousing conclusion

What a wonderful surprise to see Bill Newman’s magnificent review reported in pride of place at Marcos Madrigal`s recital in Rome today It was in fact the last review that he wrote for the recital in London for the Keyboard Charitable Trust.Much and unduly underrated in his final years he was a figure of the stature of Walter Legge in the pioneering early days of LP recording. It gives me enormous pleasure to cite it as I find it today: “Ci ha regalato una serata costellata da interpretazioni assolutamente magnifiche,gestendo il repertorio come un grande maestro con una varieta’ di tocco straordinario.Un concerto fuori da questo mondo”. And that was Beethoven op 101 and Schumann Gesange des Fruhes ending as indeed he did today with his compatriot Lecuona’s Malaguena. I well remember him playing Rhapsody on a Theme of Paganini in our complete Rachmaninov last year with the Orchestra Marchegiana under the inspired baton of Federico Mondelci. Such was the ovation he had to play six encores, egged on not only by an enthusiastic public but also by the orchestral players who could not believe his superhuman control of sound and colour in the most intricate syncopated rhythms of his compatriots music. And so it was tonight a programme dedicated to Latin American Piano Music of Lecuona,Saumell,Cervantes,Moliero,Ginastera,Gavilan,Vittier, Ponce under the title Happy Hour. It certainly was that. Colour,balance,fantastic coordination in the most complicated syncopated rhythms reminiscent of now Jorge Bolet and now Art Tatum. A fantastic display of transcendental piano playing by someone who is a real master. Ornaments played with the crisp clarity of castanets and the most beautiful yearning cantabile in the nostalgic slow works as in Danza de la Mosa Donosa by Ginastera and leading to his famous Gaucho Matrero which literally took ones breath away.

Great celebrations at the Wigmore Hall for the 25th anniversary of the Keyboard Charitable Trust. What better way to celebrate than with the composer who understood the piano better than any other….Frederik Chopin. A programme of some of his greatest works performed by the remarkable British pianist Alexander Ullman. Trained from an early age at the Purcell School followed by some intense training in Philadelphia with Leon Fleischer.Only still barely in his 24th year with first prize at the Liszt Bartok Competition under his belt he is now perfecting his studies under the remarkable eye of Dmitri Alexeev and Ian Jones at the RCM. A prime example of the supreme talent that the KCT is able to spot and help bring to the fore. There are very few young musicians that could hold a packed out Wigmore Hall in their hands for almost two hours and then regale them with one of the most subtle and poetic performances of the nocturne op 55n.2 that I can recall. And this after some masterly performances of some of Chopins greatest works. Rarely has Chopins funeral march in the B flat minor sonata,sounded so grandiloquent and the final wind over the grave so inevitable. Enviable his grip of structure in the first movement with the repeat so inevitably right. The fourth ballade too tightly held together leading to the most passionate outpouring in the coda that is all too often thrown off like a trascendental exercise. Never for a moment letting us forget that this was a young passionate mans view of Chopin , also never letting us forget the poetic content but also allowing us to share in his sheer relish in performing these so perfectly written pieces. The second Scherzo with dazzling virtuosity every much a young virtuosos performance. I remember back in 1976 Rubinsteins last performance in public with this very scherzo that he had to forsake as his failing eyesight would not allow him to take those treacherous leaps that Maestro Ullman ,70 years his junior took with such aplomb tonight in the very same hall. Deeply felt mazukas ,the very heart of Chopin,with such subtle colouring and understatement. Very unsentimental performance of the nocturne op 27 n.1 reminded us that the nocturnes are true tone poems as Rubinstein made so clearly his own. Opening with the great Polonaise Fantasy ,one of Chopin’s hardest works to play in one long line and truly a gem amongst the polonaises and very much canons covered in flowers Standing ovation,of course,for this tour de force . Three encores and a bottle of champagne greeted by a kiss from the beautiful young lady that presented it to him from the KCT. Great celebrations with speeches and a toast from our remarkable hostess,Gabriella Bassatne, to the two founders of the Keyboard Trust~ John and Noretta Leech and a touching speech from John declaring the act of love for his wife ,Noretta, in founding the trust for her sixtieth birthday……incredibly 25 years ago.

Remarkable story telling at the St James Theatre now in Victoria.The original was where Oscar Wilde did many of his first performances…long ago pulled down in the name of progress. Beautiful theatre and Brasserie but the most remarkable thing was the story that Mona Golabek had to tell about her mother fleeing Vienna on the Kindertransport that saved so many children bravely sent to safety by their parents sacrifice. A remarkable pianist,student of Fleisher I believe,kept us spellbound telling the story of her mother realising in turn her mothers dream for her of becoming a concert pianist and performing the Grieg concerto. And what a virtuoso performance it was.The hardest thing to play and at the same time recount a story. Last performance tomorrow…..I got a return and wish all who would not want to miss this my good fortune.

21 year old polish pianist Artur Haftman ……….justly a standing ovation and foto shoot with encores long after the official concert was over.

Another pianist from Norma Fisher`s remarkable stable from the RCM . Aleksandar Pavlović the young Serbian pianist on Elton Johns piano in the Elgar Room of the Royal Albert Hall today. Originally known as the West Theatre where the first performance ever was given by an RCM student: Mr Barton in1884. And now 130 years later still a venue for some of the remarkable talent being trained at the RCM . From the first note on this not easy piano Aleksandar demonstrated his musical credentials with a beautiful cantabile sound revealing a true ear for balance as well as the real meaning of “peso”. Youthful feelings were at the fore sometimes sacrificing simplicity for youthful passion.The Schumann Kinderszenen deeply felt and some magical moments .Some unexpected slow tempi and fluctuations revealed also a real thinking musician but with a real heart With maturity he will learn how to let his heart beat without interfering with the tempo or fundamental pulse.Not an easy lesson for a young and passionate youth.To let your heart beat in time to the music. Sounds so simple but believe me it is not! Was it not Sir John Barbirolli ,on hearing of criticism of Jacqueline Dupre’s youthful passion ,exclaiming that if you don’t play with passion when you are young what do you pare off later in life. This most improbable looking romantic exclaiming how he loved it………..and so did her adoring public …….it was all we were destined to have.Che meraviglia. Some really beautiful moments in the Schumann but where the problem of the pedals was not always happily resolved. The youthful Brahms F minor Sonata again partly suffered from youthful passion at the expense of allowing the music to unfold simply by this exceptionally talented young man. In the coda of the slow movement the two youths met~Brahms and Pavlovic ,and it was a moment of sheer magic,stage managed with consumate skill. We await with great anticipation what maturity of this already remarkable artist will bring us. Always so admirable how Norma Fisher instills in these superb young pianists ,the importance of roots firmly planted in the ground,allowing the branches to flow in their own particular manner without interfering with their own unique personality. Was it not Chopin who explained this very idea to his own pupils. How lucky these great talents are to have such an expert adviser in their formative years that are so fundamental for a young artist. Hats off!