Categoria: Senza categoria

Illia has long been noticed on the competition circuit by very distinguished musicians who have helped this extraordinarily gifted young man reach the maturity that led him to winning the prestigious Honens Competition in Canada last year.A competition that gives three year career guidance and that has seen Illia make his sold out New York debut at Carnegie Hall. His artistry and youthful innocence have been allowed to blossom into the maturity that we heard today in this pianistic oasis that Piotr Paleczny creates every summer in Duszniki .An artist is also known by his programmes that reflect their personality and musical integrity.Arrau would play four great blocks of masterworks but never any crowd pleasing encores.Rubinstein on the other hand would never play a work like Schumann’s ‘Davidsbundler’ in public because he could not end on a contemplative note before the interval.Serkin would play the ‘Hammerklavier’ or ‘Diabelli’ where he and the audience were far too exhausted and exhilarated to expect any more.Illia today presented a fascinating programme of the monumental Liszt Sonata in B minor – the pinnacle of the romantic piano repertoire.It was accompanied before and after by two extraordinarily poignant sonatas also in B minor by Scarlatti.In the second half he chose to share his heart with his homeland and to share it with Chopin whose heart had never really left his.Ending with the hugely significant Polonaise Héroique where nobility and national fervour combine with hope and longing for a just future!A mixture with a rarely heard Ukrainian composer,Revutsky,the teacher of the composer,Silvestrov,who has become an emblem of Ukraine in these days of the barbaric invasion of their homeland.A sonata too by Revutsky in B minor written 60 years after Liszt’s visionary masterpiece.

There was simplicity and sublime beauty from the very first noble outpouring of Bachian fervour in a Scarlatti Sonata that has never sounded so pure and simple as it seemed to pour so naturally and with deeply moving intensity from this young artist’s sensitive hands .The Liszt Sonata received a truly monumental performance of driving rhythmic energy but with grandeur and character.The opening page where Liszt’s detailed indications are so often misunderstood was played with the true understanding that here were the seeds that were to bear fruit in this visionary masterpiece.The opening marcato G’s barely whispered, as at the very end of the Sonata, were followed by a deeply dark brooding downward scale each one played by Illia with a different inflection where the music was allowed to speak so poignantly.Erupting but not too much into the two more rhythmic seeds that together become the key to a sonata that Liszt unravels with such innovative genius.Illia with great maturity had been careful to show us Liszt’s key before allowing his youthful energy and virtuosity full reign.The scene was set and now Illia could astonish and seduce us with playing of mastery and beauty.There was always a sense of architectural line and a sense of balance that never allowed this line to become broken by passion or empty virtuosity.The great opening octaves were given a shape and colour as they led so dramatically to the first ‘Grandioso’ outpouring.The simplicity and beauty of the ‘cantando espressivo’ was even more beautiful for the way that Illia had led us into it.It was a sign of Illia’s musical maturity that he could not be so overcome by the driving forward passion that he could not hold back for a moment before unleashing the full emotional impact.A recitativo that was of startling contrast to the purity of the ‘ritenuto ed appassionato’ that followed .Have the rising upward chords and menacing bass marcato ever struck so much terror as in today’s performance?

It gradually came to a moment of peace out of which flowed the sublime ‘Andante sostenuto’.A paradise of beauty and serenity played with disarming simplicity and aristocratic control.This is the very heart of the work as it builds to the climax with a driving passion that knows no limits.Dying away exhausted as etherial scales just dissolved with a legato of real weight where every ounce of sound was gently squeezed out of each note.The fugato just seemed to creep in almost unnoticed as it built with aristocratic control to an overwhelming orchestral climax .Illia’s care of sound and balance was as truly astonishing as I remember from Gilels many years ago .Who could ever forget Agosti’s unforgettable sound when the musical world flocked to Siena to hear him every year in his studio.Agosti,a prodigy of Busoni a disciple of Liszt knew well that the secret of the piano is a question of balance and control and one must hold back until the crucial moment when all the stops can be opened with overwhelming effect.Illia showed us this today as he brought beauty,intelligence and control to this work but never sacrificing his youthful passion and love of sound.Mind over heart indeed.When you have a real musical soul it can all sound so natural and simple as there is an overall architectural vision and respect for the composers wishes.This was followed by another Scarlatti sonata in the same key that was played with disarming simplicity and crystalline clarity.Searing beauty where Illia’s phrasing and shaping brought calm and poignancy after the ‘Sturm und drang’ of Liszt.

The second half was dedicated to Chopin and Revutsky.Chopin with his B flat minor Scherzo op 31 and Polonaise op 53 that were played with aristocratic poise and scintillating virtuosity.The middle episode of the Scherzo was played with the beauty of desolate sounds of great weight and meaning as they unravelled with simplicity and ‘joie de vivre’ leading to the final exhilarating outpouring of great virtuosity.The Polonaise too started in a quite subdued manner only to build to the tumultuous final climax of grandeur and nobility.Cavalry that proceeded with extraordinary determination and transcendental skill before dissolving into an oasis of peace and the final ‘heroic’ outpouring of national pride and fervour.There was moving simplicity to Chopin’s final nocturne in E minor op 72 n.1 that was played with luminosity and ravishing beauty.

It was interesting to hear the works by Revutsky played with such fervent conviction and transcendental mastery.I could see links with Scriabin,Berg and even Rachmaninov and the Sonata was indeed an impressive tone poem played with passionate conviction by a fellow countryman.It was a just tribute from an artist who like Chopin has a heart that is born deep in the soul of his homeland.A highly charged performance of Chopin’s ‘Ocean’ study was Illia’s way of thanking this wonderfully warm audience that follows these great young artists with such love and admiration year after year.A last word ,by great demand, from the Prelude op 3 n. 4 by Revutsky played with the youthful elan and artistry that had been the hallmark of an exhilarating recital from an artist on the crest of the wave and heading for the heights.

Levko Revutsky 20 February 1889 – 30 March 1977 was a ukrainian composer ,teacher and activist .Amongst his students at the Lysenko Music Institute were the composers Arkady Filippenko and Valentin Silvestrov^.The creative legacy of Levko Revutsky is celebrated in his native Ukraine, where his contributions to vocal and orchestral music are considered a crucial part of its musical heritage.Many of his works—including the Symphony No. 2 and Piano Concerto—are considered to be the first mature examples of Ukrainian compositions in various genres. Revutsky also made an important contribution to the development in Ukraine of folk song arrangements; he composed approximately 120 altogether.His piano works include Piano Sonata Allegro in B minor opus 1 (1912) Three Preludes for piano opus 4 (1914) Seven Preludes for piano opus 7 Seven Preludes for piano opus 11 (1924 Two Pieces for piano opus 17 (1929) Piano Concerto in F major (1929) Piano Concerto No. 2 in F major, Op. 18 (1934)

Liszt noted on the sonata’s manuscript that it was completed on 2 February 1853,but he had composed an earlier version by 1849.The Sonata was dedicated to Robert Schumann in return for Schumann’s dedication of his Fantasie in C op 17 (published 1839) to Liszt.A copy of the work arrived at Schumann’s house in May 1854, after he had entered Endenich sanatorium. Pianist and composer Clara Schumann did not perform the Sonata despite her marriage to Robert Schumann as she found it “merely a blind noise”.

Piotr Paleczny surprises us every summer in Duszniki with recitals by some of the most important musical talents of our time who are generously shared with the world by their superb streaming.Michael Moran supplies old style reviews full of historic references and invaluable information.This is indeed an oasis of culture that is fast disappearing in a world where quantity rather than quality is the deciding factor.http://www.michael-moran.com/2023/07/78th-international-chopin-festival-in.html?m=1

And today another surprise with a pianist who has grown in stature since he first appeared on the scene to astonish us in London at the Wigmore Hall with the studies op 10 .He had just won a top prize at the Chopin Competition in Warsaw.A line up of giants indeed where Yulianna Avdeeva ran off with first prize (her application recording having been turned down and then re admitted at the last minute due to the intervention of Fou Ts’ong),Lukas was second,Trifonov was third,Bozhanov fourth,and Dumont fifth https://christopheraxworthymusiccommentary.com/2022/01/21/francois-dumont-remembering-the-genius-of-fou-tsong-at-the-rasumovsky-academy/

Geniušas seems to know how to do everything better than anyone…’Diapason Jan.2019

Russian-Lithuanian pianist Lukas Geniušas has since firmly established himself as one of the most exciting and distinctive artists of his generation.Praised for his ‘brilliance and maturity’ (The Guardian) he is invited to give recitals in the most prestigious venues all over the world A musical pedigree that would be hard to beat .His father is the Lithuanian pianist Petras Geniusas and his mother is professor Xenia Knorre .Lukas’s grandmother is the Russian pianist pianist Vera Gornostayeva.His father,Petras, is a very distinguished Professor at Glasgow Conservatory where he has established a school of playing of great importance.Lukas plays in duo with his wife Anna Geniushene who won the Silver Medal at the Van Cliburn Competition last year (2022.)They have two children and were the first to leave Russia in protest and solidarity with the brutal invasion of the Ukraine.Anna was eight months pregnant when she astonished the public in Texas with playing of sensitivity and mastery.

Both Anna and Lukas have brought a humanity and maturity to their already quite extraordinary training that is bearing fruit with a family of musicians dedicated to honesty and integrity – two words almost obsolete in this world of quantity at any cost!

Chopin studies but this time op 25 where Chopin had indeed covered canons with flowers.An innovative technical mastery from Chopin who more than any other of his time showed us that this box of hammers and strings that were no longer plucked but struck could sing as beautifully as the Bel Canto artists of the day.A use of the pedals that indeed became the ‘soul of the piano’.The first set of studies op 10 whilst being unique are more of the gentle,considerate virtuoso than the poet of the second set.

It was this poetry that Lukas showed us with such simplicity and beauty.There were never any harsh sounds as can be so often associated with a certain type of Russian school but there were startling contrast and an unusual clarity that shone a new light on these twelve much loved jewels.

The opening of the fifth seemed unusually rhythmic until one looks at the score and can see quite clearly Vivace ,leggiero and above all scherzando.This melted in Lukas’s sensitive hands into a moment of pure magic with sounds of ravishing beauty as Chopin writes ‘Più lento’ and ‘leggiero’ and in the bass ,’sostenuto’,with the pedalling marked with the precision of a singer breathing .

The first study too was played with disarming simplicity with the melody sustained by the underlying changing harmonies.Here Chopin again makes a note for the printer to make the melody notes larger than the accompaniment with very precise pedal indications.Of course the modern day piano is much more advanced but the pedal indications give a very good indication of the sound and phrasing that Chopin had in his mind at the moment of creation.Sir Charles Halle in Manchester noted how Chopin played this study where there were no single notes but moving harmonies.We can read in a review of one of Chopin’s concerts in Manchester in the home of the Earl of Falmouth, that was announced in The Times. Being a fashionable event, this performance was covered by The Athenaeum, The Illustrated London News and The London Daily News as well as The Manchester Times 107.

‘When we hear Chopin himself, these difficulties vanish; everything is executed with such absence of effort; and everything sounds so plain and simple, to a cultivated ear, that we cannot imagine where the difficulties lay. In truth, to Chopin they are not difficulties at all, they are the most obvious modes of execution, which have naturally suggested themselves to him in order to give utterance and expression to his characteristic and original modes of his musical thought and feeling. Hence Chopin’s music has a mechanism peculiar to itself: and if this mechanism, reduced to principles, were studied and understood, the peculiar difficulties of his music would vanish.’

The second study in F minor was the one that Rubinstein surprised us with at his last recital in 1976.He was almost blind and could not see out of the corner of his eyes which made ending with the B flat minor Scherzo a dangerous proposition.The master stopped half way through and played this study just to prove that it was only his sight that was failing!He also famously exclaimed in the Green Room afterwards that he may be blind but not too blind to a recognise a beautiful lady when she is standing in front of him.Lauren Bacall was of course charmed as everyone had been in Rubinstein’s long life .Lukas played it with the same clarity and precision that is also so apparent in the autograph score.A simple undulating beauty as smooth as silk just as Rubinstein in his 90th year farewell concert had done.

The third study too was played with a rhythmic clarity and subtle shaping of the melodic line before disappearing in a wisp of smoke and three gentle sumptuous chords.The fourth was brilliantly played,lightweight and a true butterfly but I missed the legato melodic line as a contrast to the marcato that Chopin so clearly defines.

The double thirds study was beautifully played and followed the masterly performance of Kevin Chen the day before.Chopin though clearly marks the fingering for the final descending scales that Lukas decided to play with two hands!

A pianistic trick that I have never seen before and makes me wonder how he might approach Beethoven – as a pianist or faithful interpreter!However it was masterly playing and I just wonder looking at the score if Chopin intended the fifth and sixth to be linked by pedal out of which the double thirds emerge ?Beatrice Rana proved that this worked and had me searching the score for the evidence that is not conclusive but very convincing.

The beautiful slow seventh study was obviously that which Chopin struggled with as he delved deeply into his soul and found the same aristocratic voice that Lukas found today too.Lukas has a mature personality and not only interprets the composers wishes but adds his own distinctive voice too just as Rubinstein did with aristocratic good taste and fire.The final studies were brilliantly and poetically played with the fleeting continual movement of the eighth and the ‘Butterfly’ lightness of the ninth.

The tenth and eleventh were played with extraordinary fire and architectural shape.The long flowing octave study interlude played with ravishing beauty and legato.How wise he was to note Chopin’s ‘forte’ indication at the beginning of the ‘Ocean’ study.With the magnificent waves of changing harmonies and at the end an indication to play as loud as possible followed by a crescendo to ‘Fortississimo’.The composer always knows best !

The Rachmaninov first Sonata is gradually appearing on concert programmes more frequently after Kantarow’s illuminating lock down performance streamed live from Paris.It takes a great musician to make sense of a work that even the composer found a challenge to give a coherent form to.Thomas Kelly gave a remarkable performance in London just a few days ago where the miriad of notes were turned into streams of sumptuous sounds. https://christopheraxworthymusiccommentary.com/2023/08/03/thomas-kelly-at-st-jamess-piccadilly-musicianship-and-mastery-mark-the-return-of-a-golden-age-but-of-the-thinking-virtuoso/

Lukas had the same poetic vision too that gave a distinctive shape to what is in effect a tone poem concealed in Sonata clothes!His performance today was just as convincing and had a maturity that allowed him to play with astonishing clarity and a remarkable musicianly shape giving a different but just as convincing vision to the golden sheen of colour that others had added to a seemingly endless flow of notes.Lukas had chosen to play a Shegeru Kwai that with its Bosendorfer richness and sumptuous tone palette gave such significance and meaning to the thirty minutes of early Rachmaninov meanderings.As a curiosity I wonder what is meant by the ‘original’ version?We know about the 1913 and 1931 versions of the Second Sonata and also the Horowitz reduction sanctioned by his close friend the composer.But this first Sonata I was not aware of other versions until today.

A performance that was greeted with a subdued ovation in this hall where Chopin is God.It was a quite remarkable performance from a mature master musician.He offered three short encores from a brief barely whispered page of Scriabin to Prokofiev or Shostakovich that I did not recognise but were certainly from the twentieth century Russian school .

Piano Sonata No. 1 in D minor op 28 was completed in 1908.It is the first of three “Dresden pieces”, along with the symphony n.2 and part of an opera, which were composed in the quiet city of Dresden.It was originally inspired by Goethe’s tragic play Faust,although Rachmaninoff abandoned the idea soon after beginning composition, traces of this influence can still be found.After numerous revisions and substantial cuts made at the advice of his colleagues, he completed it on April 11, 1908. Konstantin Igumnov gave the premiere in Moscow on October 17, 1908. It received a lukewarm response there, and remains one of the least performed of Rachmaninoff’s works.He wrote form Dresden, “We live here like hermits: we see nobody, we know nobody, and we go nowhere. I work a great deal,”but even without distraction he had considerable difficulty in composing his first piano sonata, especially concerning its form.Rachmaninoff enlisted the help of Nikita Morozov , one of his classmates from Anton Arensky’s class back in the Moscow Conservatory, to discuss how the sonata rondo form applied to his sprawling work.Rachmaninov performed in 1907 an early version of the sonata to contemporaries including Medtner.With their input, he shortened the original 45-minute-long piece to around 35 minutes and completed the work on April 11, 1908. Igumnov gave the premiere of the sonata on October 17, 1908, in Moscow,

https://youtube.com/live/NJn2GThijuI?feature=share

Astonishing Kevin Chen in Poland ………….winner of Budapest at 14 Geneva at 17 and Rubinstein at 18 and now we know why …There is a Genius in our midst ….,…….ctd https://youtube.com/live/NJn2GThijuI?feature=share

Hats of to Prof Piotr Paleczny who has treated us again to such marvels and such wonderful streaming.It was the fourteen year old ‘unknown’ who suddenly appeared in Budapest and astonished the world with playing of mature mastery and superhuman technical polish from a young Canadian pianist from the unknown school of Marilyn Engle.Today having gone on to win the Gold Medals in Geneva and Tel Aviv – the ultimate accolade was to be awarded the Artur Rubinstein Gold Medal at the age of 18.

Janina Fialkowska and Linn Hendry Rothstein both Canadian trained pianists grew up as students together with Marilyn Engle.They both agree that she was the most talented of them all.Janina ready to pursue a political career was unexpectedly taken under the wing of Artur Rubinstein who persuaded her to pursue a career as a pianist .He helped her in the first stages by insisting that wherever he played she should play too.Janina despite health problems has maintained a world wide career and is the true heir to the simplicity and artistry of her mentor.

It was interesting to see her passing on her experience and sharing her artistry with Bruce Liu before he won the Chopin Competition and it was refreshing to see with what generosity she shared her time with Kevin Chen recently in masterclasses in Canada.Kevin Chen plays like a young Solomon ( with wisdom,of course,but I mean the inexplicably forgotten great pianist who together with Lipatti were the forerunners of modern piano playing)He plays with extraordinary mature musicianship with honesty and integrity and has a formidable technical preparation that seems to have no limitations.

A programme that recently took La Roque d’Anthéron by storm (https://www.radiofrance.fr/francemusique/podcasts/le-concert-du-soir/le-pianiste-kevin-chen-a-la-roque-d-antheron-dans-un-programme-liszt-wagner-et-chopin-3570009) before arriving at the amazing array of star pianists that Piotr Paleczny surprises us with every summer in Duszniki and that is so generously shared with the world via their superb streaming.Michael Moran supplies old style reviews full of historic references and invaluable information.This is indeed an oasis of culture that is fast disappearing in a world where quantity rather than quality is the deciding factor.http://www.michael-moran.com/2023/07/78th-international-chopin-festival-in.html?m=1

After a recital of unbelievable pianistic and musical perfection in which even Liszt’s old war horse of ‘Norma’ was given a new vibrant life Kevin Chen sat at the piano and ravished us with two song transcriptions by Liszt :”Fruhlingsnacht”and “Widmung”.Delicacy ,beauty and intelligence combined with technical brilliance captured the imagination and and enthusiasm of an audience already astounded by Chopin Studies op.10 that have rarely if never been played with such mastery.As if this was not enough this very young looking young man placed his right hand on the keyboard and allowed the sounds of Chopin’s double thirds study op 25 to reverberate with the perfection of a Rosenthal.But there was much more than just technical perfection Kevin realised that the music was in the left hand (as in that other pianistic tour de force :Liszt’s Feux Follets) and that the right hand notes were just streams of sounds that accompanied the deep pulsating bass melody.An astonishing display of humility where musical values are fundamental,the very raison d’etre and the actual superhuman technical mastery needed is just incidental.No barnstorming or demonstrative virtuosity but a young man who has been raised to put musical meaning and the composers wishes before any other consideration.He will as he matures gain more of his own personality and have a voice like Rubinstein that can be shared with simplicity and artistry and just add to the mature understanding and God given talent that he has been blessed with.

A fourth Ballade where the music just seemed to flow with such naturalness from the beauty of the opening and the following theme and variations that were a continual flow of forward movement to the final passionate outpouring of romantic fervour.

The five delicate chords and catching of breath before the wave of impending sounds was heralded with a sforzando deep in the bass.A tornado of romantic sounds of transcendental difficulty that in Kevin’s hands became a sculptured wave of undulating movement leading to the final cascade of notes and the nobility of the door being so definitively shut.

This was just a prelude to the twelve Studies op 10 that were twelve miniature tone poems of breathtaking beauty and brilliance.The transcendental difficulties of the first two just disappeared as the first became a great monument of vibrant sounds from deep in the bass and the second a fleeting wisp of sound as the right hand weaved a web of golden sounds as the bass just quite calmly added the carefree dance rhythm.Astonishing speed and ease we were aware off afterwards as it was the musical message that was so captivating and enticing.The third study and the sixth were both played with aristocratic style and a sense of balance that allowed the melodic line to sing with such luminosity being sustained by the ravishing harmonies that were being woven all around.I have never been aware of the great pealing bells in the third study like a Great Gate and an integral part of this heartrending study that is so often misunderstood and divided into two separate episodes.In Kevin’s hands the genius of Chopin was at last revealed where the composers innovative use of the piano was so apparent as never before.The fourth and famous black key fifth were played with astonishing character and ease – the phenomenal speed and perfection were but a detail to the passionate ending of the fourth or the charm and delight not to mention the cascades of octaves of the fifth.The seventh could almost be called the ‘butterfly’ study such was the gossimer lightness of the repeated notes on which the melodic line was revealed with such subtle artistry.Cascades of notes in the eighth were just the accompaniment to the melodic line in the bass.The same agitated bass that dominated the ninth as the melodic line floated on a current of forward moving sounds.The beauty of the tenth and the eleventh just belied the actual detailed technical indications of the composer.The tenth floated on a wave of harmonious sounds like the treacherously difficult nineteenth Prelude.Art that conceals art but of a difficulty that only Richter up until now seemed to have found the perfect legato for something so technically demanding.The ‘Revolutionary’ study was played with fire and passion where the whispered answering phrases were judged to absolute perfection as we were swept along on a wave of emotion every bit as moving as the Polonaise Héroique.Poland was very much in Chopin’s heart and the sense of yearning never more apparent.

A fascinating opening with four short tone poems by Liszt .A ‘Bagatelle sans tonalité ‘ with its amazing clarity and precision that just seems to obstinately stop in mid air.A ‘Liebestod’ where we were treated to phrasing of subtlety from the etherial to the sumptuous .All played with an orchestral shape and mature understanding of sound but never interfering with the natural youthful passion of which this work above all is a yearning sigh of longing.A fluidity and jeux perlé brilliance of the fountains at the Villa d’Este was played not as a show piece but as a work full of the same colours and sounds that are still to be found on the hills around Rome that Liszt loved so much.’Les Cloches de Genèvre’ must have rung a bell for Kevin who just a year or so ago won the Gold medal in the International Competition there .A work rarely heard in concert but is an outpouring of mellifluous sounds played by Kevin with sumptuous colour revealing his masterly sense of pedalling that Anton Rubinstein always referred to as the ‘soul’ of the piano.

The Norma Fantasy was at last restored to the great work that it really can be.Beauty of phrasing,masterly sense of balance allied to a technical mastery that was breathtaking. Even the ending where the two themes are so cleverly combined the tempo never slackened as the tension rose to almost boiling point.Giant scales that were a mere wind passing over the keyboard with the melodic line being hinted at from afar. The Thalberg trick of a tenor melodic line in the midst of cascades of notes all around making one believe that there must be more than one pianist involved was played with astonishing ease and a mounting passion that was mesmerising.There were driving rhythms of an ending of astonishing rhythmic energy and precision as octaves were bantered about with enviable ease.

https://www.radiofrance.fr/francemusique/podcasts/le-concert-du-soir/le-pianiste-kevin-chen-a-la-roque-d-antheron-dans-un-programme-liszt-wagner-et-chopin-3570009

Bagatelle sans tonalité S 216a was written in 1885 a year before his death.The manuscript bears the title “Fourth Mephisto Waltz”and may have been intended to replace the piece now known as the Fourth Mephistopheles Waltz when it appeared Liszt would not be able to finish it; the phrase Bagatelle ohne Tonart actually appears as a subtitle on the front page of the manuscript.Written in waltz form,the Bagatelle remains one of Liszt’s most adventurous experiments in pushing beyond the bounds of tonality, concluding with an upward rush of diminished sevenths.Unlike the Third and Fourth Mephisto Waltzes, the Bagatelle received its premiere within Liszt’s lifetime, by his pupil Hugo Mansfield in Weimar on June 10, 1885.Like the Fourth Mephisto Waltz, however, it was not published until 1955.

The Bells of Geneva is a work taken from the first year of the years of Pilgrimage : Switzerland.A collection that would undoubtedly have as a preface another small collection of three pieces, Apparition (1834). This first Swiss year evokes Liszt’s stay in this country 20 years earlier with Marie d’Agoult.Dedicated to his first daughter Blandine (1835-1862),it is accompanied by a quote from Byron taken from Childe Harold : “I do not live in myself, but I become part of what surrounds me”.

Norma Fantasy :During the 1800s opera had a lot of appeal to audiences. From big dramatic storylines to emotional arias, opera was in its prime during this century. Although opera was perceived to have a glamorous aura, it was actually quite inaccessible for a large part of the public due to price and cultural differences. Therefore it is not surprising that many pianists sought to gain more audiences by composing, arranging and performing their own operatic fantasies. Liszt undertook the challenge of diluting Bellini’s opera Norma into a 15 minute solo piano work in 1841. The work easily equals the dramatic impact of the original opera through Liszt’s dynamic and highly virtuosic writing. No less than seven arias dominate Liszt’s transcription of Norma which are threaded together to create a nearly continuous stream of music.The title role of Norma is often said to be one of the hardest roles for a soprano to sing, and this adds to the drama and intensity of the music. ‘Norma, a priestess facing battle against the Romans, secretly falls in love with a Roman commander, and together they have two illegitimate children. When he falls for another woman, she reveals the children to her people and accepts the penalty of death. The closing scenes and much of the concert fantasy reveal Norma begging her father to take care of the children and her lover admitting he was wrong.”Liszt, arguably the most charismatic virtuoso of all time, was challenged for supremacy by Sigismond Thalberg, a pianist who could apparently not only counter Liszt’s legendary fire and thunder with subtlety but who played as if with three hands. Three hands were heard, two were visible! A confrontation took place in the Salon of Princess Belgioso and although it was diplomatically concluded that ”Liszt was the greatest pianist; Thalberg the only one”, the outcome was inevitable. Liszt continued on his protean and trail-blazing course while Thalberg was consigned to virtual oblivion.

At the midpoint of Franz Liszt’s Les jeux d’eaux à la Villa d’Este (The Fountains of the Villa d’Este), as the music modulates into a radiant D major, the composer places in the score the following inscription from the Gospel According to John: Sed aqua quam ego dabo ei, fiet in eo fons aquae salientis in vitam aeternam (But the water that I shall give him shall become in him a well of water springing up into eternal life).The two great halves of Liszt’s long life (he lived from 1811 to 1886) are synthesized here. His early touring years as perhaps the greatest piano virtuoso of all time are manifested in the brilliant instrumental effects that abound in the music; a true test of any performer’s technical mastery. And his later years of spiritual enlightenment and teaching shine through in the serene ecstasy sustained throughout.While Les jeux d’eaux à la Villa d’Este is the progenitor of all pianistic water-music to come (Ravel and Debussy lay decades ahead), its intent goes beyond the musical depiction of the rilling and leaping of waters in fountains. It offers water as the symbolic focus of profound contemplation.

British pianist Solomon was born on August 9, 1902, which is 121 years ago this year. He was an astounding musician and pianist whose brilliant career was tragically cut short by a stroke in 1956, though he would live for over three more decades.As I mentioned in a post about the artist last month, his studio discography gives but a glimpse into the fullness of his repertoire and capabilities. He recorded about an hour of Chopin in the 78rpm era but none in the LP era (though he was due to record the Sonatas when his stroke occurred); he made just a few wonderful Debussy records (among his teachers was the French legend Lazare-Levy) but only on 78s, and these were rarely reissued. His handful of Liszt recordings also demonstrate a fiery temperament and blazing technical capacity at odds with the prevailing perception of him as a more reserved interpreter – which he could be … Like many, his artistry had many facets, only a portion of which is revealed by his sanctioned records.Linked in the comments is my 120th birthday tribute to the artist prepared last year, which features links to a number of my favourite recordings set down of course of roughly a quarter century, from 1929 to 1956. Also included are two radio interviews with Solomon that are very insightful, and a podcast I produced about his 78rpm recordings.I thought I’d also include in the comments a Liszt recording not included in the written feature, his superb December 16, 1932 (somewhat abridged) account of Liszt’s Hungarian Rhapsody No.15. His dazzling fingerwork is even more magnificent when one considers how beautiful his tone is throughout, every note glistening like a diamond: I’ve often said that if someone seems to have great technique because they have impressive dexterity but the sound they produce is not beautiful, then it is not actually integrated technique and merely dexterity. Solomon had it all.And finally, his Hammerklavier, part of what was due to be a recording of the complete Beethoven Sonatas, sadly interrupted by his health crisis. This is by many considered one of the finest accounts of this titanic masterpiece – it certainly is an account worth hearing and revisiting.

https://youtu.be/UHdgqAqMdlE

Astounding Federico Colli in Poland …. Winner of Leeds in 2012 now conquering the world with his artistry .
https://youtube.com/live/UHdgqAqMdlE?feature=share
Playing of ravishing beauty I never thought I would hear Prokofiev like that since Rubinstein’s Visions in Carnegie Hall …….beauty and artistry combined with showmanship and charm ….an artist with a wondrous choice of programme ………..A fascinating start with Mozart and the two Fantasies in C minor .A fragment of a violin fantasy only 27 bars long but completed by Stadler which showed immediately the credentials of Federico Colli with delicacy and luminosity and phrases of insinuating subtlety.An almost improvised work of great dynamic contrasts that was the ideal preparation for Mozart’s mighty C minor fantasy that was the introduction to his most Beethovenian of Sonatas,that in C minor.There was a mysterious opening to the fantasy and an almost capricious sense of timing which led to the beauty and freedom of the mellifluous central episode.The Allegro was sometimes erratic with exaggerated fluctuations of tempo but it was always of great effect and brought Mozart’s genial improvised fantasy vividly to life with originality but also faithfulness to the score.After a cadenza of true Beethovenian proportions there followed the Andantino with even more noticeable fluctuations of tempo before the dynamic and brilliant Più Allegro and the mystery of the return of the opening question and answer of such dramatic effect.

The Schubert Fantasy is well known to all those who have ever attempted to play piano duets.The haunting opening melody over a gently lapping accompaniment was played with ravishing sound and a subtle freedom that brought to life this well known opening with a freshness and etherial beauty that made one wonder why Schubert himself had not written it for two hands instead of four.These were indeed magic hands of a sensitivity to sound and colour that I have only heard from Horowitz .It was a wonderful moment of discovery every time the theme returned with ever more poetic beauty.The transcription by Grinberg became rather overpowering at some stages though and began showing its age.Like Busoni like with the same triumphant return at the very end with the opening theme returning in a blaze of Lisztian triumph just as in Busoni’s vision of Bach’s Goldberg Variations.The Scherzo too was more Brahms than Schubert with is rather full harmonic filling and pedal clinging harmonies.The Largo too with its shimmering vibrated chords where Schubert even with four hands was much more simple and less dramatic.The Fugue on the other hand was played with a clarity and simplicity building to a climax with Busoni like octaves in the left hand and great bass notes clouding the simplicity of Schubert’s etherial final vision of paradise.But having commented on the transcription it was worth its weight in gold to hear how Federico with such subtle artistry could turn such a well known and love theme into a wondrous jewel of unforgettable beauty.If a thing of beauty is a joy forever then play on say I.

It was in the ‘Visions Fugitives’ that Federico revealed his true fantasy and kaleidoscopic sense of colour.An ability to create with a minimum of strokes a continuous change of atmosphere and character.From the spacious landscape to the elegance and even quixotic charm of these jewels so rarely heard these days.I have heard Gilels and Richter play them with ravishing effect but it was Rubinstein like Colli today that could make them speak so eloquently and simply.An extraordinary quixotic range of sounds that like a chameleon seemed to change colour before our very eyes.

It was the same sense of character that her brought to Nikolaeva’s Suite from Peter and the Wolf.A short series of pieces all based on the famous theme that was played at the beginning with utmost purity and simplicity only to be embroidered and elaborated with transcendental fantasy and skill .A work worthy of being heard more often in the concert hall.It is much more than a mere transcription but is a paraphrase by a pianist where music just poured from her fingers whether it be the Art of Fugue or Mussorgsky’s Pictures.

A recital in which Federico brought vividly to life everything he played.A supreme stylist playing with intelligence,artistry and an authority that was spellbinding.Even the encores were stimulating and quite a revelation of both beauty and technical mastery.

Mozart’s Adagio for Glass Harmonica was played with a purity and luminosity of sound as he etched the delicate sounds out of the piano with such icy precision.An overblown transcription followed of an equally overblown work by Kreisler who had admitted that the Preludium and Allegro was not by Pugnani but indeed by himself.This Busoni type transcription for piano revealed the enormous technical reserves of a pianist who can devour the keyboard when he chooses to do so.But Federico is above all an artist and a poet as was shown by his heartrending transcription of Handel ‘Lascia ch’io Piango’ offered as a goodnight elixir for an audience by now on their feet wanting ever more.

Visions fugitives, Op 22, is a cycle of twenty miniatures.They were written between 1915 and 1917, individually, many for specific friends of the composer, and premiered by him as a cycle lasting some twenty minutes on April 15, 1918, in Petrograd. In August 1917, Prokofiev played them for Russian poet Konstantin Balmont ,among others, at the home of a mutual friend. Balmont was inspired to compose a sonnet on the spot, called “a magnificent improvisation” by Prokofiev who named the pieces Mimolyotnosti from these lines in Balmont’s poem: “In every fleeting vision I see worlds, Filled with the fickle play of rainbows”. A French-speaking friend at the house, Kira Nikolayevna, immediately provided a French translation for the pieces: Visions fugitives. Prokofiev often performed only a couple of them at a time as encores at the end of his performances.The miniatures are vignette-like, whimsical, effervescent and bright.In 1935 Prokofiev made recordings of ten pieces from the set, and his playing is notable for its wistfulness, subtle shadings and — in places — rhythmic freedom.Rubinstein included ten of them in his historic Carnegie Hall recital series https://youtube.com/watch?v=Gk0jJyUh0T4&feature=share

Fantasia No. 2 in C minor K.396/385f is a fragment of a violin Sonata by Mozart in Vienna in August or September 1782.Its is marked Adagio and consists of 27 bars , the violin part entering at bar 23.Maximilian Stadler later composed a “completion” of the work for solo piano which is 70 bars long and ends in C major ,copy of which in Stadler’s hand contains a dedication to Constanze Mozart Maximilian Johann Karl Dominik Stadler, Abbé Stadler (4 August 1748, in Melk – 8 November 1833, in Vienna ), was an Austrian composer, musicologist and pianist.In 1766 he entered the Benedictine Monastery in Melk Abbe where he served as Benedictine monk, and then Prior from 1784 to 1786. In 1786, he was Abbot of the Monastery of Lilienfeld , and from 1789 in Kremsmunster Monastery.From 1791 he lived in Linz and from 1796 in Vienna, where he settled the estate of Mozart and was in charge of the Imperial Music Archive.Fantasia No. 4 in C minor, K. 475 was composed by Mozart in Vienna on 20 May 1785.published as Opus 11, in December 1785, together with the Sonata in C minor K.457, the only one of Mozart’s piano sonatas to be published together with a work of a different genre.

The work was dedicated to Caroline Esterházy, with whom Schubert was in (unrequited) love. Schubert died in November 1828. After his death, his friends and family undertook to have a number of his works published. This work is one of those pieces; it was published by Anton Diabelli in March 1829.The basic idea of a fantasia with four connected movements also appears in Schubert’s Wanderer Fantasy, and represents a stylistic bridge between the traditional sonata form sand the essentially free-form tone poem^.

Maria Grinberg September 6, 1908 – July 14, 197 was born in Odessa. Until the age of 18, Maria took piano lessons from Odessa’s noted teacher David Aisberg. Eventually she became a pupil of Felix Blumenfeld (who also taught Horowitz) and later, after his death, continued her studies with Konstatin Igumnov at the Moscow Conservatory .She became a major figure of the Russian piano school. However, in 1937 both her husband and her father were arrested and executed as “enemies of the people”.She was fired by the state-run management and got a job as an accompanist of an amateur choreography group and later was readmitted as a piano soloist. She became a much-sought-after pianist in Moscow ,and other cities all over the Soviet Union.At the age of 50, after Stalin died, she was finally allowed to travel abroad. In all, Grinberg went on 14 performing tours – 12 times in the Soviet bloc countries and twice in the Netherlands where she became a nationally acclaimed figure. Critics compared her performances with those of Horowitz ,Rubinstein and Haskil.She died on July 14, 1978, in Tallinn Estonia , ten weeks before her seventieth birthday. The Gnessin Institute’s director, chorus master Vladimir Minin (who a year before had forced Grinberg to resign from her teaching position), refused to hold a memorial ceremony on the Institute’s premises, and it was only thanks to the efforts of Deputy Minister of Culture Kukharsky, the great pianist was given her last honor in a proper way.

Tatyana Petrovna Nikolayeva May 4, 1924 – November 22, 1993 was was born in Bezhitsa, in the Bryansk district, on May 4, 1924. Her mother was a professional pianist and studied at the Moscow Conservatory under the renowned pedagogue Alexander Goldenweiser, and her father was an amateur violinist and cellist. When in Leipzig the International Johann Sebastian Bach Competition was founded to mark the bicentenary of Bach’s death in 1750, Nikolayeva won first prize in 1950; as a member of the jury, Dmitri Shostakovich he composed and dedicated the 24 Preludes and Fugues, Op.87, to her: it remained an important part of her piano repertoire.She sat as a jury member on international competitions such as the International Tchaikovsky Competition and the Leeds Piano Competition. She recorded her own transcription of Sergei Prokofiev’s Peter and the Wolf. Nikolayeva was the teacher of Nikolai Lugansky; shortly before her death, she declared him “The Next One” in the line of great Russian pianists. Among her other students was András Schiff, whom she taught in summer courses at the Hochschule für Musik Franz Liszt, Weimar. She died on November 22, 1993 in San Francisco after succumbing to a brain haemorrhage during a performance of one of the Op.87 fugues at the Herbst Theatre.

Federico Colli in Poland

Some extraordinary piano playing from Thomas Kelly at St James’s Piccadilly.Rachmaninov is certainly being celebrated regally today.Thomas Kelly this lunchtime at St James’s ,Yuga Wang this evening at the Proms and the 13th year old Taige Wang this night with the Cleveland Symphony Orchestra in the USA.(https://vimeo.com/event/3598732/embed/5837f34ae2 )

Yuga and Taige both playing Rhapsody on a theme of Paganini which is the very theme that Thomas chose to close his recital with in the version by Liszt that is his 6th of his Paganini studies.Thomas gave an astonishing display of technical wizardry where technical difficulties just disappeared in a display of a kaleidoscope of colour and fantasy as though Thomas was improvising as the Master himself must have done.

Stimulated and completely refreshed by a phenomenal performance of Rachmaninov’s elusive First Sonata he still had the energy to amaze,seduce and ravish the senses whilst astonishing us mortals with a display of piano playing that was as natural as water flowing in a stream.I was astonished by Benjamin Grosvenor’s recital at the Albert Hall a few weeks ago but was even more astounded by the performance today from a magician who could turn a Fazioli piano into casket of jewels of such subtle insinuating colours.Benjamin Grosvenor,Stephen Hough and Thomas Kelly all have the same thing in common which is an undying love of the sounds that can be conjured out of the piano.

The Golden Age of piano playing was justly questioned by a very learned colleague when I mentioned it in my review of Grosvenor’s concert .https://christopheraxworthymusiccommentary.com/2023/07/18/benjamin-grosvenor-at-the-proms-the-reincarnation-of-the-golden-age-of-piano-playing/

Quite rightly he pointed out that the level of piano playing has never been so high these days so why always look backwards?Pianists think nothing of playing with ease Brahms 2,Rach 3 or Prokofiev 3 that in my day was a rarity and it was only with the arrival of the Russians who showed us what real piano playing was all about.But let us not forget Uncle Tobbs the mentor of Dame Myra Hess and Dame Moura Lympany with the Matthay Method where every note had a hundred gradations of sound in it depending on how it was hit,stroked or caressed.But the English school did not seem to have the phenomenal digital mastery as the pianists from Odessa who had been trained from the cradle to acquire fingers of steel whilst never loosing the relaxed natural position of rubbery wrists and arms.We are not built to sit in front of a box of hammers and strings and to let our fingers run up and down the keys for hours on end , so any natural movement allied to the shape of the music on the page leads to a more well oiled way of playing.Volodos of course is the prime example these days of beauty of sound allied to beauty of movement.The pianists of the Golden Age were able to charm and seduce,astonish and ravish but were not always respectful of the composers wishes thinking that it was the sentiment behind the notes that was more important rather than the actual notation so carefully written on the page.Beethoven of course is the prime example of a composer,even when deaf,who could write with minute attention exactly how he wanted the music to sound.

We live in an age now thanks to the advent of masters like Schnabel,Serkin,Pollini Brendel or Perahia to mention just a few where the composers intentions are of fundamental importance and it is only here than an interpretation can begin with honesty and integrity.But there has been also a school where this attention to the score has produced a very monocrome type of playing where colour,fantasy and beguiling insinuating sounds have not been part of the pianists palette.

With the arrival of our magnificent three a new era is opening up where the Golden Age has returned but with the integrity and honesty of the most intellectually informed musicians.

This was obvious from the way Thomas played the two opening Scarlatti Sonatas.With great respect for the style but as Horowitz had shown us a few years ago with a kaleidoscope of colours .It was imbued with a ravishing sense of colour but also a classical discipline that never faltered as the music was played with driving vitality and grace.Tom even opened up another stop towards the end of the B minor Sonata where deep bass notes shone down on the precedings with the scintillating effect of a prism.There was purity and clarity in the Sonata in D with astonishing repeated notes shaped with tantalising ease and a digital delight of a jeux perlé that was indeed of another era.A supremely stylish performance of insinuating harmonies and colours.

This was just the gate to Pandora’s box where the dark questioning of the opening of Rachmaninov’s First Sonata was whispered with frightening burning intensity and foreboding before an explosion of notes that were in Tom’s hands but streams of sound.It was like sitting on a cauldron of a boiling mass of sound ready to explode or dissolve into throbbing ecstasy or triumphant glory.A vision of a distant marvellous land was floated into thin air as if on a magic carpet and was to be the link between the movements that for Rachmaninov had been such a problem .But Tom today had seen with such clarity the architectural shape to a work that even for the composer was elusive.Tom ,like recently Kantarow,has a vision and passionate conviction of the meaning of this work that is captivating and enthralling and has at last placed it on a pinnacle with the much more accessible and vastly overplayed Second Sonata.There was even a magic link, a mere wisp of sound that linked the first movement to the second .Rachmaninov floating with insinuating nostalgia strands of melody of luminosity and ravishing beauty.The Allegro molto was a maze of sumptuous sounds contrasted with episodes of clarity and rhythmic energy of driving passion .Amazing virtuosity that was scintillating and exhilarating as in the distance appeared the magic land from afar that we had overheard in the first movement.The whole sonata was played with incredible musicianly understanding allied to the sheer joy of creating the sounds of a truly grand piano.The Golden Age has returned but on a rock of dedicated musicianship of integrity and honesty .

Thomas Kelly was born on 5th of November 1998. He started playing the piano aged 3, and in 2006 became Kent Junior Pianist of the Year and attained ABRSM Grade 8 with Distinction. Aged 9, Thomas performed Mozart Concerto No. 24 in the Marlowe Theatre with the Kent Concert Orchestra. After moving to Cheshire, he regularly played in festivals, winning prizes including in the Birmingham Music Festival, 3rd prize in Young Pianist of The North 2012, and 1st prize in WACIDOM 2014.
Since 2015, Thomas has been studying with Andrew Ball, initially at the Purcell School of Music and now at the Royal College of Music. Thomas has also gained inspiration from lessons and masterclasses withmusicians such as Vanessa Latarche, William Fong, Ian Jones, Valentina Berman, Wei-Yi Yang, Boris Berman, Paul Lewis, Mikhail Voskresensky, Dina Yoffe. Thomas will begin studying Masters at the Royal College of Music in 2021, sharing with Professors Andrew Ball and Dmitri Alexeev.
Thomas has won 1st prizes including Pianale International Piano Competition 2017, Kharkiv Assemblies 2018, at Lucca Virtuoso e Bel Canto festival 2018, RCM Joan Chissell Schumann competition 2019, Kendall Taylor Beethoven competition 2019, BPSE Intercollegiate Beethoven competition 2019 and the 4th Theodor Leschetizky competition 2020.
He has performed in a variety of venues, including the Wigmore Hall, the Cadogan Hall, Holy Trinity Sloane Square, St James’ Piccadilly, Oxford Town Hall, St Mary’s Perivale, St Paul’s Bedford, the Poole Lighthouse Arts Centre, the Stoller Hall, at Paris Conservatoire, the StreingreaberHaus in Bayreuth, the Teatro Del Sale in Florence, North Norfolk Music Festival and in Vilnius and Palanga. Since the pandemic restrictions in 2020, Thomas’ artistic activities include participating in all 3 seasons of the “Echo Chamber” an online concert series curated by Noah Max, and releasing 3 singles under the Ulysses Arts label on digital platforms.
Thomas is a C. Bechstein Scholar supported by the Kendall-Taylor award. He is being generously supported by the Keyboard Charitable Trust since 2020, and Talent Unlimited since 2021.
Presented in association with Talent Unlimited

Thomas Kelly at St Mary’s a programme fit for a Prince

Piano Sonata No. 1 in D minor op 28 was completed in 1908.It is the first of three “Dresden pieces”, along with the symphony n.2 and part of an opera, which were composed in the quiet city of Dresden.It was originally inspired by Goethe’s tragic play Faust,although Rachmaninoff abandoned the idea soon after beginning composition, traces of this influence can still be found.After numerous revisions and substantial cuts made at the advice of his colleagues, he completed it on April 11, 1908. Konstantin Igumnov gave the premiere in Moscow on October 17, 1908. It received a lukewarm response there, and remains one of the least performed of Rachmaninoff’s works.H e wrote form Dresden, “We live here like hermits: we see nobody, we know nobody, and we go nowhere. I work a great deal,”but even without distraction he had considerable difficulty in composing his first piano sonata, especially concerning its form.Rachmaninoff enlisted the help of Nikita Morozov , one of his classmates from Anton Arensky’s class back in the Moscow Conservatory, to discuss how the sonata rondo form applied to his sprawling work.Rachmaninov performed in 1907 an early version of the sonata to contemporaries including Medtner.With their input, he shortened the original 45-minute-long piece to around 35 minutes and completed the work on April 11, 1908. Igumnov gave the premiere of the sonata on October 17, 1908, in Moscow,

https://youtube.com/live/xaFtU8eiDNQ?feature=share
Another ‘Pictures’,two within twelve hours must be a record ……………Tyler Hay had played it and got a standing ovation at St Martin’s just a stone’s throw from Piccadilly Circus. But played by two superb musicians they were two completely different visions.
A stimulating rather than a boring coincidence as they are both pianist who I have long admired and tried to follow and in some way help them on their long journey towards finding the public their talent deserves.
It was like watching a prism where the light that shone upon the notes was in continual evolution depending how,when and where the light arrived at its goal.
José is a hot blooded South American and chose to take risks allowing his Latin temperament full reign to astonish and excite the senses.Nothing suits him better than the music of his native land where the seductive melodic lines are captivated in a insinuating mist of ambiguity before erupting into brilliantly energetic and even frenetic dance rhythms.
It was a selection of pieces by Ginastera,Sandi and Villa Lobos today that aroused seduced and ravished the senses played as to the manner born He was proudly dressed in his beautiful native Bolivian embroidered jacket.
But Jose Navarro has been studying for the past seven years in Europe having been discovered in Bolivia by a trustee and founder member of the Keyboard Trust.
Moritz von Bredow was on tour with a choir in Bolivia where he was invited to hear a talented young boy play the piano.He immediately arranged some concerts for him in Germany and José remained in Europe to study with the most important teachers of our time and to learn more intensely about the great German tradition of delving deep into the score to extract the composers wishes with honesty and integrity.
Paul Badura Skoda was a great mentor and Jose has been studying with the highly esteemed pianist and pedagogue Claudio Martinez Mehner.For the past year he has perfected his studies with Norma Fisher and Ian Jones obtaining his Artists degree and will now be Artist in Residence at La Chapelle in Belgium working with Frank Braley

I have heard José many times over the past year and have noticed how in such a short space of time his playing has grown in authority and musical integrity.His studies with Norma Fisher and Ian Jones at the Royal College of Music over the past year have given him an even firmer base for his superb musicianship.His playing of his native music of South America has always been impeccable in style with the duel personality of the insinuating seducer and the dynamic conqueror.Just a selection of short pieces today ignited the hall with the final frenetic animal drive of Villa Lobos after the beguiling charm of Ginastera and Sandi.

But it was the Mussorgsky Pictures at an Exhibition that showed off his true extraordinary musicianship as he managed to weld together into one complete picture a work that can too often seem fragmented.It was the collection that he had shown us of the exhibition of the individual paintings by his friend Victor Hartmann struck down so unexpectedly early in life .It showed a tour de force of control and technical authority that allowed him a full palette of colours and at the same time his Latin temperament could have full range but always within a musical framework that could see the overall larger picture.Resonance and clarity of the opening promenade led to the very energetic ‘Gnomus’with its frightening contrasts and startling final cascade of notes.Ease and delicacy led to the next picture of ‘The Old Castle’.It was played in a beautiful flowing ‘two’ that allowed the musical line to float on thin air and to be shaped with natural beauty.Finally blowing itself out with two gentle sighs as the Promenade to the next picture took on a more decisive gait.’Tuileries’ was played at quite a speed but always with the insistent child like pulsation on which filigree work was played with great precision and nonchalant ease .’Bydlo’ came bursting onto the scene with its lumbering insistence building to a mighty climax only to disappear into the distance as the promenade returned this time with luminosity and delicacy.The ‘Unhatched chicks’ was played with remarkable precision and dexterity and the trills were like mere vibrations of sound.There was drama as Samuel Goldenberg entered the scene with his imposing recitativo .Only to be answered by the delicate and intricate sounds of Schmuyle.A passionate discussion follows that was played with superb forward movement until the gentle grief stricken comment dismissed by the dominance of Goldberg.’The Market place in Limoges’ was full of nervous energy and was quite a tour de force of precision and colour.The resonance of the chords of the Catacombs was remarkable for the sumptuous full sounds and startling contrasts between each of the meandering chords.There was great technical control in ‘the Dead in a Dead Language’ with shimmering beauty as it reached for the unspeakable heights.Chased away by ‘Baba Yaga’ who suddenly came bursting onto the scene with such technical command and dynamic energy.The middle section again showed off Jose’s complete mastery of texture as he allowed the right hand to accompany the melodic line in the left hand before Baba Yaga appears on the scene again.A transcendental control of sound meant that the Great Gate of Kiev could be heard in all its many forms from the gentle apparition at the beginning to the mighty dramatic central episode with it’s cascading bells sweeping across the entire keyboard .Dissolving into the calm of a plain chant where the gradual pealing of bells was to build up to the enormous final declamation of a truly great Gate of Kiev.A remarkable performance played with the seriousness and intelligence of a true thinking musician but with a Latin temperament and heart of gold.

Modest Mussorgsky

Pictures at an exhibition
Promenade I

Gnomus (The Gnome)
Promenade II. Moderato commodo assai e con delicatezza

Il Vecchio Castello (The Old Castle)
Promenade III. Moderato non tanto, pesamente

Tuileries,Disputed’enfantsaprèsjeux (Children’s Quarrel after Games)

Bydło (Cattle)
Promenade IV. Tranquillo

Ballet of the Unhatched Chicks

“Samuel” Goldenberg und “Schmuÿle”
Promenade V

Limoges, le marché. La grande nouvelle. (The Market, the Great News)

Catacombæ, Sepulcrum romanum (Catacombs, Roman Tomb)
Cum mortuis in lingua mortua (With the Dead in a Dead Language)

Baba-Yagá – The Hut on Fowl’s Legs

The Great Gate of Kiev

Selection of Piano Pieces by South American Composers Alberto Ginastera, Marvin Sandi and Heitor Villa-Lobos

José Navarro Silberstein at St James’s A master musician with a heart of gold

Pictures at an Exhibition is based on pictures by the artist, architect, and designer Viktor Hartmann. It was probably in 1868 that Mussorgsky first met Hartmann, not long after the latter’s return to Russia from abroad. Both men were devoted to the cause of an intrinsically Russian art and quickly became friends. They met in the home of the influential critic Vladimir Stasov, who followed both of their careers with interest. According to Stasov’s testimony, in 1868, Hartmann gave Mussorgsky two of the pictures that later formed the basis of Pictures at an Exhibition.

PICTURES AT AN EXHIBITION Promenade l
The Gnomes
Promenade ll
The Old Castle
Promenade lll
The Tuileries: Children’s dispute
after play
Bydlo
Promenade IV
Ballet of the unhatched chicks
Two Polish Jews: Rich and poor
Promenade V
The market at Limoges
Roman Catacombs – With the dead
in a dead language
Baba Yaga: The Witch
The Heroes Gate at Kiev

Hartmann’s sudden death on 4 August 1873 from an aneurysm shook Mussorgsky along with others in Russia’s art world. The loss of the artist, aged only 39, plunged the composer into deep despair. Stasov helped to organize a memorial exhibition of over 400 Hartmann works in the Imperial Academy of Arts in Saint Petersburg in February and March 1874. Mussorgsky lent the exhibition the two pictures Hartmann had given him, and viewed the show in person, inspired to compose Pictures at an Exhibition, quickly completing the score in three weeks (2–22 June 1874).Five days after finishing the composition, he wrote on the title page of the manuscript a tribute to Vladimir Stasov, to whom the work is dedicated.The music depicts his tour of the exhibition, with each of the ten numbers of the suite serving as a musical illustration of an individual work by Hartmann.Although composed very rapidly, during June 1874, the work did not appear in print until 1886, five years after the composer’s death, when a not very accurate edition by the composer’s friend and colleague Nikolai Rimsky-Korsakov was published.

Mussorgsky suffered personally from alcoholism, it was also a behavior pattern considered typical for those of Mussorgsky’s generation who wanted to oppose the establishment and protest through extreme forms of behavior.One contemporary notes, “an intense worship of Bacchus was considered to be almost obligatory for a writer of that period.”Mussorgsky spent day and night in a Saint Petersburg tavern of low repute, the Maly Yaroslavets, accompanied by other bohemian dropouts. He and his fellow drinkers idealized their alcoholism, perhaps seeing it as ethical and aesthetic opposition. This bravado, however, led to little more than isolation and eventual self-destruction.

José Andres Navarro
The young Bolivian pianist has performed in different countries in venues and festivals in Europe, USA, and South America. Halls include the Teatro Municipal “Alberto Saavedra Pérez” in his hometown La Paz till the Musikverein in Vienna. From 2022 he is a Talent Unlimited Artist in London. In September 2023 he will launch his debut CD “Vibrant Rhythms” with GENUIN Classics.
As a soloist, he has performed with the Jena Philharmonic Orchestra, Norddeutsche Philharmonie Rostock, Georgian Philarmonic Orchestra, La Paz Symphony Orchestra, Orquesta de Jóvenes Musicos Bolivianos and Orquesta Sinfónica Juvenil de Santa Cruz de la Sierra under the baton of Timothy Redmond, Markus L. Frank, Wojciech Rajski, Andreas Penninger among others.
He is a prize winner at the Anton Rubinstein Piano Competition in Düsseldorf, Tbilisi International Piano Competition in Georgia, International Competition Young Academy Award in Rome, Claudio Arrau International Piano Competition in Chile among many others. He was a finalist at the Eppan Piano Academy and at the 63rd Ferruccio Busoni International Piano Competition.
In Bolivia he gave masterclasses in La Paz Conservatory, Sucre Conservatory Santa Cruz Fine Arts College and Laredo School in Cochabamba. He served as a jury member in national music competitions.
He was mentored by Paul Badura Skoda, from whom he became a particular interest for period instruments. He studied with Balasz Szokolay at the Franz Liszt University in Weimar and with Claudio Martínez Mehner at the University of Music and Dance in Cologne. At the moment he has just graduated with honours from the Artist Diploma programme at the Royal College of Music in London under the guidance of Norma Fisher and Ian Jones. Her receives scholarships from RCM, Herrmann Foundaiton Liechtenstein-Bolivia, Theo and Petra Lieven Foundation of Hamburg and Elfrun Gabriel Foundation for Young Pianists. He is going to be an Artist in Residence of the Queen Elisabeth Music Chapel from September 2023.

A standing ovation for Tyler Hay after a masterly recital at St Martin in the Fields of works from Mendelssohn Songs without words to Hoagy Carmichael’s Stardust .
A wondrous journey from the ravishing beauty of five of Mendelssohn best loved ‘Songs without words’ played with disarming simplicity and beauty.
A monumental performance of Mussorgsky’s ‘Pictures’ where each one was painted with a kaleidoscopic palette of colour and an extraordinary sense of characterisation.All leading to the final Great Gate of Kiev which came as a triumphant glorification of freedom and truth.
Bells peeling all over the keyboard as the final glorious outcry filled this magnificent edifice with sounds that reverberated with such significance in every soul present.
A delicate ‘Clair de Lune’ followed of luminosity and fluidity where streams of mellifluous sounds were etched in gold on a seamless silver platter.
Gershwin’s classic ‘Rhapsody in Blue’ ended this short recital in full swing style with beguiling innuendo and teasing rhythmic energy.
Grandeur and nobility united in a scintillating display of unashamed showmanship from an artist who could also reveal the subtle and unique artistry of a composer who Nadia Boulanger refused to teach for fear of contaminating a unique voice.
A voice Tyler had too as he introduced the programme with amusing anecdotes and the ease and charm of a Victor Borge.
An encore was offered by great demand of a transcription by his grandfather John Hay It was he who had sown the seed of music in the six year old Tyler with his jazz transcriptions of which ‘Stardust’ by Hoagy Carmichael was the one that Tyler chose to share with us by candlelight today
A memorable recital that had us on our feet in a spontaneous ovation for an artist who had shared a wondrous journey of uplifting music making with us today.

It was nice to be back in the regal surrounds of St Martin in the Fields just the other side of Trafalgar Square where the Keyboard Trust has given many concerts over the past few years in collaboration with the Brazilian Embassy in the historic Cunard Hall – now rechristened Sala Brasil.https://christopheraxworthymusiccommentary.com/2023/06/16/tyler-hay-and-david-zucchi-celebrate-the-work-of-radames-gnattali-at-the-sala-brasil/

I had given a recital in St Martin’s in 1972 the year I won the Gold Medal at the RAM and I have rarely been back since.A recital that also signalled my swan song as music was to take me to Rome and the life of a concert theatre manager together with my distinguished actress wife Ileana Ghione.

Our theatre next to St Peter’s Square became the Wigmore Hall of Rome where we were able not only to produce the plays in the way my wife wanted but also to invite to Rome young aspiring musicians and legendary old one’s strangely overlooked in Italy.Vlado Perlemuter,my teacher ,made his debut in Italy in 1984 as did my other teacher Guido Agosti both in their 80’s.Rosalyn Tureck made her come back to the concert stage at 77.Cherkassky played ten times and together with Fou Ts’ong ,Peter Frankl,Peter Katin ,Moura Lympany and many others became favourites in Rome.Roberto Prosseda,Angela Hewitt and Janina Fialkowska all made the theatre their home too.

I am now split between Rome and London and being a retired gentleman can enjoy both without having to worry about organising the day to day running of a theatre in Rome any more.I remember very well the piano at St Martin’s in 1972 that I had played and had been bequeathed to St Martin’s by Sir Thomas Beecham.It now stands in St Lawrence Jewry and in its place stands a gleaming new Steinway concert grand bequeathed to the church by a wealthy benefactor.It is nice to know that our host John Landor is also an Associate of the RAM like me and the compliments he gave to Tyler after his recital were of a real discerning musician.

Pictures at an Exhibition is based on pictures by the artist, architect, and designer Viktor Hartmann. It was probably in 1868 that Mussorgsky first met Hartmann, not long after the latter’s return to Russia from abroad. Both men were devoted to the cause of an intrinsically Russian art and quickly became friends. They met in the home of the influential critic Vladimir Stasov, who followed both of their careers with interest. According to Stasov’s testimony, in 1868, Hartmann gave Mussorgsky two of the pictures that later formed the basis of Pictures at an Exhibition.

PICTURES AT AN EXHIBITION Promenade l
The Gnomes
Promenade ll
The Old Castle
Promenade lll
The Tuileries: Children’s dispute
after play
Bydlo
Promenade IV
Ballet of the unhatched chicks
Two Polish Jews: Rich and poor
Promenade V
The market at Limoges
Roman Catacombs – With the dead
in a dead language
Baba Yaga: The Witch
The Heroes Gate at Kiev

Hartmann’s sudden death on 4 August 1873 from an aneurysm shook Mussorgsky along with others in Russia’s art world. The loss of the artist, aged only 39, plunged the composer into deep despair. Stasov helped to organize a memorial exhibition of over 400 Hartmann works in the Imperial Academy of Arts in Saint Petersburg in February and March 1874. Mussorgsky lent the exhibition the two pictures Hartmann had given him, and viewed the show in person, inspired to compose Pictures at an Exhibition, quickly completing the score in three weeks (2–22 June 1874).Five days after finishing the composition, he wrote on the title page of the manuscript a tribute to Vladimir Stasov, to whom the work is dedicated.The music depicts his tour of the exhibition, with each of the ten numbers of the suite serving as a musical illustration of an individual work by Hartmann.Although composed very rapidly, during June 1874, the work did not appear in print until 1886, five years after the composer’s death, when a not very accurate edition by the composer’s friend and colleague Nikolai Rimsky-Korsakov was published.

Mussorgsky suffered personally from alcoholism, it was also a behavior pattern considered typical for those of Mussorgsky’s generation who wanted to oppose the establishment and protest through extreme forms of behavior.One contemporary notes, “an intense worship of Bacchus was considered to be almost obligatory for a writer of that period.”Mussorgsky spent day and night in a Saint Petersburg tavern of low repute, the Maly Yaroslavets, accompanied by other bohemian dropouts. He and his fellow drinkers idealized their alcoholism, perhaps seeing it as ethical and aesthetic opposition. This bravado, however, led to little more than isolation and eventual self-destruction.

Rhapsody in Blue was written in 1924 for solo piano and jazz band, which combines elements of classical with jazz influenced effects. Commissioned by bandleader Paul Whiteman , the work premiered in a concert titled “An Experiment in Modern Music” on February 12, 1924, in Aeolian Hall ,New York City.Whiteman’s band performed the rhapsody with Gershwin playing the piano.Whiteman’s arranger Ferde Grofé orchestrated the rhapsody several times including the 1924 original.

With only five weeks remaining until the premiere, Gershwin hurriedly set about composing the work.He later claimed that, while on a train journey to Boston ,the thematic seeds for Rhapsody in Blue began to germinate in his mind.

‘It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer…. I frequently hear music in the very heart of the noise. And there I suddenly heard—and even saw on paper—the complete construction of the rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of musical kaleidoscope of America, of our vast melting pot of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston I had a definite plot of the piece, as distinguished from its actual substance.^’

https://youtube.com/watch?v=j2fbOAyNOpM&feature=share

Carmichael wrote the song with inspiration from the end of his love affair with Kathryn Moore, who would later marry Art Baker, the trumpet player in Carmichael’s Collegians.One night after leaving the Book Nook, a university hangout, Carmichael whistled what would become the opening of the song. The composer later declared that he felt that the tune “had something very strange and different”Carmichael did not want to reveal the details of the night he worked on the song with the family’s piano, saying “the public likes to think these sweet songs are conceived under the moonlight, amid roses and soft breezes”.

The supreme stylist Andrea Lucchesini managed to calm even the wildlife that engulfed him as he enchanted and seduced us with the ravishing sounds of an artist who has delved deep into the soul of the music he plays and can transmit its message directly and simply .He generously shared with us the inner secrets of sublime music making in the magic atmosphere of the Gardens of Ninfa.

It was enough to listen or should I say overhear the three nocturnes op 9 by Chopin that opened his recital.Immediately realising that here was an artist who could shape and project Chopin’s subtle refined ‘bel canto’ with rare delicacy and at the same time aristocratic simplicity.
An almost imperceptible flexibility that drew us in to a magic world where the notes on the page that we know so well took on a new significance .

They were given a new life and importance allowing the music to speak as if there were words on every note .A bel canto that became as eloquent as the sublime lieder of Schubert.We were in the hands of a true musician who is also a poet with a superb technical ‘valise’ at the service of the music he is sharing with us.A gift of communication of directness and simplicity that is the key to all great interpreters.

Rubinstein in his Indian summer demonstrated this so well right up until his final concert at the age of 90 in 1976.Krystian Zimerman and Murray Perahia disciples of Rubinstein and Horowitz have shown us the truth behind:’Je joue,je sens e je transmet’.When music making is allied to humility and honesty digging deep into the scores of masterworks to find the secrets at the moment of creation that are there for the gifted few to behold.A superb technique of course is essential but a technical preparation of an orchestra of ten fingers.Fingers that can conjure up different sounds and give the illusion that a black box full of strings and hammers can indeed sing just as beautifully as a nightingale.With a kaleidoscope of colours it can also give the impression of being every bit as sumptuous as the Philadelphia Orchestra.All this was apparent as Andrea Lucchesini battled with the midges and mosquitos to share with us the very essence of Chopin.

The first nocturne unwound so naturally with a beautiful sense of balance that allowed the melodic line to sing with a luminosity and ravishing sense of colour without any forcing or rhetoric.The beautiful comment of distant bells in the central episode was a revelation to me as I have never been aware of this question and answer until today.The famous E flat Nocturne was played with simple eloquence and a clarity that contrasted so well with the sombre brooding of the first.The cadenza and final bars were played on an etherial cloud but never sentimental or anything other than a ravishing simplicity and sensitivity that in no way altered the rhythmic flow that was so captivating from the first to the last note.He carried us along on a real ‘Wing of Song’.The beguiling innuendo of op 9 n.3 I remember being so captivated with,when I heard Josef Lhevine play it on an old ‘piano roll’ that had been discovered near to my home by Frank Holland.He was an engineer who was in love with the old reproducing systems of the Ampico and Welte Mignon .Pre recording systems that interested him for the mechanics but he had no idea of the treasure trove of piano roles that he had inadvertently acquired from being destroyed as the new recording systems came into commerce.Theatres and cinemas were to suffer the same fate too as the TV sat looking at us in every living room taking the place of the obligatory piano with candelabra!The Nocturne op 9 n. 3 was beautifully played with subtle sounds of understatement in which everything was infact stated.Art that conceals art is hard to define and has to be experimented as tonight revealed.I think even the mosquitos and midges seemed happy too and eventually gave up the chase as they basked in such glorious sounds.

A piano of course prepared by that other magician Mauro Buccitti who had worked tirelessly on finding the voice that Andrea had required.The low resonant ‘D’ of the final prelude is always a problem as the final three notes should ring but with different intensity.

I remember Andrea’s mentor Luciano Berio spending hours with three piano tuners in the Ghione theatre in Rome desperately trying to find the right vibrations for a work that was based solely on that.I remember him saying after the last one had left that he would just have to put up with what the tuners had been able to do!This was before Mauro Buccitti’s time of course!Shura Cherkassky a pianist who gave over ten recitals in Rome for us was invited to Berio’s home after a recital he gave in Empoli.It was there that the prodigy Andrea Lucchesini performed Berio’s ‘Wassermusik’ much to the admiration of one of the leggendary stylists of our time.

The two intermezzi op 9 n. 3 and 4 by Roffredo Caetani were a just reminder of a musician ,today,completely overlooked.The first is a beautifully mellifluous work with a long rhapsodic outpouring similar to much of Fanny Mendelssohn or Clara Schumann and very much of that refined salon style.The second Intermezzo was a much more interesting work with some beautiful doubling of the melodic line and a ravishing duet between the voices becoming ever more passionate – a miniature tone poem indeed.They were played of course by a stylist with love and sensitivity and to quote Joan Chissell on hearing Rubinstein play ‘O prol do Bebé’ by Villa Lobos:’Mr Rubinstein turned baubles in to gems’.Indeed Maestro Lucchesini did just that to great effect bringing these creations back to the land where they were created.Caetani the Godson of Liszt and just a stone’s throw from today’s concert location is the piano the Liszt had donated to Roffredo and is now siting proudly still in Ninfa.

https://christopheraxworthymusiccommentary.com/2020/07/20/50th-anniversary-of-the-pontine-festival-foundation-streamed-live-from-sermoneta-and-ninfa/The ‘Andante Spianato’was played with superb technical control from the very first notes.A wave of sounds played with an evenness and precision with a minimum amount of pedal which lent a delicate but solid base to the magical ‘bel canto ‘ that Andrea floated on top.It was Chopin who likened rubato to a tree with the roots firmly planted in the ground but with the branches that were free to move in the breeze.Embellishments that just unwound so naturally out of the melodic line without any showmanship or simplistic throwing away.They were an integral part of the musical line and a golden web of subtle beauty that was spun with great artistry.The Mazurka episode was played with the same subdued beauty and the shimmering waves of sound that joined these two worlds was a wonder of technical bravura.Agosti would always say ,like his teacher Busoni,that you need fingers like steel but wrists like rubber to be able to have true control of sound.The great pianist is the one who can play quietly and clearly with total control – loud and fast is for entertainers not interpreters!Of course the Polonaise was originally written for orchestral accompaniment but there is a discreet orchestral interlude between the two sections.Andrea played it without exaggeration and with good taste never changing the sound picture that had been so delicately created.In fact the Polonaise unwound with moments of bravura and technical brilliance but it was more the beauty and delicate colour that Andrea brought to the streams of golden sounds that was so beguiling and teasing – a real ‘jeux perlé’but not that of a superficial demonstration of bravura but a seemless stream of sounds that just added to the overall architectural shape of a work that was written as a showpiece for the youthful Chopin.But with Chopin a showpiece not of a circus entertainer but of a poet with a soul.An innovative genius who created a new technical approach and sound world for the keyboard.

The Preludes I last heard in Sermoneta many years ago played by Fou Ts’ong.It was the genius of Ts’ong who inspired generations of young musicians in his masterclasses including in Sermoneta but mostly in the piano Academy in Como .He had surprised the world when he was awarded the ‘Mazurka’Prize at one of the very first Chopin Competitions in Warsaw.How could a Chinese pianist understand the soul of a Pole!?Ts’ong simply said that the soul in Chopin was the same soul that was in ancient Chinese poetry of which his father was an expert.A soul knows no boundaries!It was Ts’ong too who declared Chopin’s 24 Preludes to be 24 problems.More than the 24 studies because each of the preludes has a different technical problem that needs to be mastered with technical precision and artistry.

This was exactly what Andrea Lucchesini did with mastery not only conquering fearlessly the technical difficulties but finding an overall sound that united each prelude into a unified whole.From the improvised opening prelude to the three mighty ‘D’s’ of the final triumphant 24th.A wonderful sense of balance in the brooding second prelude and a left hand of fleeting lightness in the third on which Andrea with seeming simplicity could place the melody.The layers of sound that he found for the twentieth variation was enhanced by the time he took to change manuals.There was ravishing beauty of the thirteenth after the extraordinary stamping of the feet of the twelfth.The earth shattering fourteenth was played with terrifying precision and clarity.

The clouds parted as the radiance of the so called ‘raindrop’ prelude was allowed to unfold with disarming simplicity.The treacherous B flat minor prelude was played with the same mastery that I remember Perlemuter revealing to us at the Royal Academy.A period of strikes with the unmoveable Heath administration meant that the lights failed while the Maestro was demonstrating some preludes to us students.In pitch darkness he fearlessly continued this study to the end and calmly told us afterwards that if you cannot play it with your eyes closed you had better never attempt it in public!What a lesson from a Master as indeed Andrea Lucchesini showed us today.

The octaves of the twenty first were played with the same shape as a symphony orchestra without hardness or empty bravura.The gentle stream of sounds of the twenty third were rudely interrupted by the passion and fire of the final twenty fourth .The deep tolling bell of the seventeenth was played with a simplicity that allowed the melodic line to float on a cloud of nostalgic remembrance like in a dream.The eighteenth ‘cadenza’ prelude that followed was played without the usual vicious accents but with a sense of line and intensity that was a suitable introduction to the transcendental hidden difficulties of the mellifluous nineteenth.

A magnificent performance of one of the most difficult of all Chopin’s works that will resound in these beautiful surrounds for long to come.

A Schubert Impromptu op 90 n.2 offered as an encore just flowed from Andrea’s fingers with the same beguiling simplicity and artistry that had held us so enthralled all evening.Simplicity,artistry and technical mastery what more could one want in such beautiful surrounds.Mosquitos and midges you have been warned!

The Nocturnes, Op. 9 are a set of three written by between 1831 and 1832, published in 1832, and dedicated to Madame Marie Pleyel and were Chopin’s first published set of nocturnes. N.1 is one of the better known nocturnes and has a rhythmic freedom that came to characterise Chopin’s later work.N.2 is his best-known Nocturne written when he was around twenty years old. N.3 The first section is marked Allegretto where the main theme is chromatic, but filled with nostalgic energy. The second contrasting section, Agitato in B minor, is a very dramatic with a combined melody and counter-melody in the right hand and continuous arpeggios in the left.It is full of coloratura ornaments, and ends in a small cadenza similar to Opus 9 no. 2,

The Andante spianato e Grande Polacca brillant was written between 1830 and 1835. The Andante is for solo piano, while the Polacca features orchestral accompaniment.

It was written in two stages, approximately five years apart. Chopin wrote the Grande Polacca between 10 September and 25 October 1830 and it is the most virtuosic of his youthful ones, conceived when he was still in Poland.The initial part, Andante spienato , was instead composed later, in 1835 and was initially thought of as a nocturne due to its lyrical and romantic tone, but then the musician thought he could use it as an introduction to the previously written Polonaise brilliant . The finished composition was performed in public on April 26, 1835 in a charity concert in the Salle de Concert of the Conservatoire National de Musique with Chopin himself at the piano and the direction of Francois-Antoine Habeneck , considered at the time the most important conductor. The work was published the following year under the title Grande Polonaise brillant, précédée d’un Andante spianato.

Chopin’s 24 Preludes, op .28, are a set of short pieces for the piano, one in each of the twenty-four keys , originally published in 1839.

Chopin wrote them between 1835 and 1839, partly at Valldemossa,Mallorca, where he spent the winter of 1838–39 and where he had fled with George Sand and her children to escape the damp Paris weather.In Majorca, Chopin had a copy of Bach’s ‘48’ and as in each of Bach’s two sets of preludes and fugues, his Op. 28 set comprises a complete cycle of the major and minor keys, albeit with a different ordering.Whereas Bach had arranged his collection of 48 preludes and fugues according to keys separated by rising semitones , Chopin’s chosen key sequence is a circle of fifths , with each major key being followed by its relative minor, and so on (i.e. C major, A minor, G major, E minor, etc.). It is thought that Chopin might have conceived the cycle as a single performance entity for continuous recital.An opposing view is that the set was never intended for continuous performance, and that the individual preludes were indeed conceived as possible introductions for other works.Chopin himself never played more than four of the preludes at any single public performance.Nor was this the practice for the 25 years after his death. The first pianist to program the complete set in a recital was probably Anna Yesipova in 1876.Nowadays, the complete set of Op. 28 preludes has become part of the repertoire , and many concert pianists have recorded the entire set, beginning with Busoni in 1915, when making piano rolls for the Duo-Art label. Alfred Cortot was the next pianist to record the complete preludes in 1926.He would also play the 24 Studies op 10 and 25 together with the 24 Preludes op 28 in the same programme.Something that Fou Ts’ong had done at the Festival Hall in London and on my request at the Ghione Theatre in Rome.

50th Anniversary of the Pontine Festival Foundation streamed live from Sermoneta and Ninfa

Ferschtman-Gnocchi-Lucchesini Trio Glorious tribute to Rocco Filippini in Sermoneta

ROME CHAMBER MUSIC FESTIVAL- Superb music making returns to Teatro Argentina

Trained at the great Maria Tipo piano school, Andrea Lucchesini began an intense international solo career at a very young age, after winning the “Dino Ciani” International Competition at the Teatro alla Scala in Milan in 1983. Since then he has played with the most prestigious orchestras and conductors such as C. Abbado, S. Bychkov, R. Abbado, R. Chailly, D. Gatti, G. Gelmetti, D. Harding, G. Noseda and G. Sinopoli.
He is the first (and only) Italian artist to receive the Accademia Chigiana International Prize, in 1994, while the following year the Italian critics awarded him the F. Abbiati Prize.For over twenty years he has also been very active in the chamber music sector, of which he explores the vast repertoire in the most varied formations, collaborating with musicians and ensembles of the highest level; numerous projects, including recordings, see him in duo with the cellist Mario Brunello.
In July 2001, the world premiere of Luciano Berio’s Sonata in Zurich marks the culmination of a successful collaboration, which began with Concerto II “Echoing curves”, performed by Lucchesini under Berio’s direction throughout the world, and recorded with the London Symphony Orchestra for BMG .
Andrea Lucchesini has recorded for Emi, Teldec and Agorà;the eight live CDs of Beethoven’s 32 Sonatas (Stradivarius) and the complete works for solo piano by Berio for Avie Records have received important acknowledgments from the critics, unanimous in applause even in front of the more recent CD dedicated to Schubert’s Impromptus.
Convinced of the importance of passing on musical knowledge to the younger generations, he is also passionately dedicated to teaching at the Fiesole Music School and is regularly invited to hold masterclasses at the most prestigious European and American musical institutions; he also participates in radio music dissemination projects, and as a juror in numerous international competitions on five continents.He is actually Artistic Director of the Amici della Musica di Firenze one of the oldest and most renowned concert Societies in Italy .The direction was passed on to him by the retiring historic directors Stefano Passigli and Domitilla Baldeschi

Alfonso Alberti celebrations- The shadow of Dante in the magic garden of Ninfa

Elisso Virsaladze in Latina “Homage to Riccardo Cerocchi “

Some superb playing as you would expect from students from the class of Giovanni Gnocchi.I have heard Maestro Giovanni Gnocchi many times since that very first time when he was invited to take over the class of Rocco Filippini.
https://christopheraxworthymusiccommentary.com/2021/07/18/ferschtman-gnocchi-lucchesini-trio-glorious-tribute-to-rocco-filippini-in-sermoneta/
Sermoneta always noted for its musical honesty and integrity from its birth in the ‘60’s during the Howard,- Caetani Dynasty with Menuhin,Szigeti and Alberto Lysy and has now found a superb musician to continue this great tradition.

It was nice of Giovanni to include a work by Davydov because Jaqueline Du Pre who as a teenager came to Sermoneta inherited the Davydov cello- it was rumoured that it was a present from the Queen Mother.

Navarra who also used to teach and play in Sermoneta would give this Allegro de concert to all his students.
I well remember Andre Navarra with a cigar in his mouth demonstrating with such aristocratic simplicity a phrase that his student had perhaps spent hours trying to perfect!

Today this very piece was played with mastery by Ana Martinez with a musical freedom and sense of colour that indeed one was reminded of how the young Jaqueline Du Pre might have played it on this very spot fifty years ago!

It was the last piece in ‘Giovanni Artisti dal Mondo’concert in a church hidden amongst the steps in a corner of this historic town.A place of worship of such simple beauty adorned with frescos and now resounding to the sound of music.It is just one of those marvels that had Rostropovich declare that Italy was the ‘museum of the world’.

Giovanni Gnocchi had mentioned Rostropovich too as three of his students were to perform movements from the Sonata op 119 by Prokofiev and the First Concerto op 107 by Shostakovich both works that the 22 year old Slava had given the premier of .In 1949 Prokofiev wrote his Cello Sonata in C, Op. 119, for the 22-year-old Rostropovich, who gave the first performance in 1950, with Sviatoslav Richter.

Laura Pascali played the ‘Andante grave’ from the Prokofiev with searing intensity, dynamic drive with beautiful long lines and contrasting dynamics.She should now have the courage to put the score to one side and let the music pour more freely from her beautiful cello.

Giovanni Maccarini impressed from the very first notes of the Shostakovich which he played with burning intensity ,infectious rhythm and full mellifluous sound.No score in sight allowed him the freedom to move with the music as it took hold of him and that he was able to transmit with such immediacy to his audience.Just as I remember Rostropovich who started playing before he had even sat down in a festival in London of a marathon of thirty works for cello and orchestra ,many written especially for him.The Concerto was composed in 1959 for his friend Mstislav Rostropovich, who committed it to memory in four days. He premiered it on October 4, 1959, at the Large Hall of the Leningrad Conservatory with the Leningrad Philharmonic conducted by Yevgeny Mravinsky.

Lavinia Scarpelli played the second movement with a clarity and purity of sound with long lines impressively sustained.

The concert had begun with Luigi di Cristofaro giving a stylish if not always impeccable account of the Allegro moderato from Haydn’s Concerto in D.It is never easy to begin a concert especially with friends colleagues and teacher in the hall .Luigi gradually gained in authority to give a very commanding performance where he could now leave the score off stage and take full possession of the instrument and his audience.

Leonardo Notarangelo did just that as he threw himself into the fray with the other two movements having had the ‘ice’ broken by Luigi.Fluidity and flexibility played with a ‘joie de vivre ‘ in the Allegro of brilliant very assured playing.

Viola Pregno Bongiovanni gave a performance of great intensity of Beethoven’s Adagio from his Sonata in D op 102 n.2 .Beautifully sharing these final thoughts of Beethoven with the pianist Clara Dutto as they comuned together in a true dialogue with moments of heartrending intensity from a composer who could see the paradise that was awaiting after a life of such overwhelming struggle and difficulty .
https://christopheraxworthymusiccommentary.com/2021/03/22/giovanni-gnocchi-at-teatro-rossini-with-haydn-the-father-of-the-symphony/

Gnocchi – Stella in Rome ‘On wings of song’

THE CHURCH OF SAN MICHAEL THE ARCHANGEL

San Michele Arcangelo is one of the oldest churches in the city, probably built at the beginning of the 11th century and dedicated, as the name suggests, to the Archangel Michael. The building seems to have been built over the ruins of an ancient pagan temple dedicated to the goddess Maia.

The complex has an irregular plan, perhaps due to the existence of a building prior to its foundation. The architectural structure has some older Romanesque forms and others of clear Gothic derivation, the result of changes made over the centuries.

The bell tower also shows an overlapping of construction phases belonging to different eras and the structure, as it appears today, is the result of a partial seventeenth-century reconstruction, due to a collapse. The original bell tower was built in the thirteenth century, with a typically Romanesque style attributable to the models of Rome, even if a purely Gothic construction phase was now underway in the entire region.

The interior of the church and the underlying crypt have various frescoes, especially from the fifteenth century. Finally, other frescoes are found in a basement of the building, in the room where the confraternity of the ‘battenti’ met.