PS Un “blogger” non è un oracolo e commette inevitabilmente errori (il minimo possibile..). Ricevo spesso “correzioni” non sempre fondamentali e non sempre precise. Così come io mi sottopongo al giudizio altrui con nome e cognome così chi vorrà avere la bontà di segnalarmi eventuali errori o imprecisioni dovrà farlo unicamente mandando un commento: a ognuno la propria responsabilità. In base alla nuova normativa chi si fosse iscritto e desidera de-iscriversi è sufficiente che mi invii un messaggio e-mail..

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A young French pianist 27-year-old winner of the Tchaikovsky (one of the great music competitions, when it was still held, today unfortunately for political reasons of lost rank) endowed with great qualities. Gifted with an excellent technique (he performs octaves at dizzying speed) he has the ability to put his technique at the complete service of interpretation. “He makes the music breathe” that is, it approaches the pieces performed by giving them the right breath (and the right pauses!) without ever exhibiting muscular and purely virtuosic performances, an evil unfortunately increasingly present in youth concerts also due to competitions (now more than one a day!) with completely inadequate juries. It would be useless to examine the individual performed pieces. It is certainly worth mentioning the beginning and the end of the concert with two Brahmsian pieces that are not the most performed and above all the final chaconne for the left hand only, one of the many transcriptions of the famous Bach piece (for Brahms one of his exercises for the piano) that concludes the partita for solo violin n.2 in D minor.  A piece certainly not to thrill the less experienced crowds but which reveals a high-level musical sensibility and the renunciation of the typical final virtuosic piece that so often exalts a hall with a good mouth. In short, a musical personality that justifies his triumph at the Tchaikovsky Competition. He rightly included in the program two virtuoso Liszt pieces (chass neige from transcendental studies and the famous valléè d’Obermann from Années de pèlerinage) but always with a measured approach aimed at the musical meaning of the pieces performed. The same goes for Bartók and especially for Rachmaninov’s sonata, which in its finale is so reminiscent of his Etudes tableaux interspersed with some timid fugato approaches. Two encores: a paraphrase of the famous aria from Saint-Saëns’ Samson et Dalila “mon coeur s’ouvre à ta voix” and a piece (how could it be missing?) by Liszt. In total, a pianist still able to mature widely (we hope to hear him also in Beethoven) and who perhaps could refrain from useless blatant gestures that add nothing to his excellent performance (remember Michelangeli…). Great but not exceptional success of the usual public with the usual chaps who want to establish themselves as experts by shouting “bravo”……

PS I would kindly ask the readers of this blog to  register  (which implies nothing) which can be easily made  by “clicking” the black square above each post. By so doing they will receive an e-mail message whenever a new post is published.

PS A “blogger” is not an oracle and inevitably makes errors (the minimum possible..). I often receive “corrections” not always fundamental and not always accurate. Just as I submit myself to the judgement of others with the name and surname so those who want to have the goodness to report errors or inaccuracies will have to do so only by sending a comment: everyone has his own responsibility.

Per un elenco aggiornato di tutti i precedenti  posts di questo blog con i corrispondenti links

PS  Vorrei ringraziare tutti coloro che inseriscono commenti  ai posts utilizzando l’opzione “Lascia un commento”  (o “commenti” se ne sono già stati inseriti) prevista nella sezione sinistra (o prima del testo per schermi ridotti come i tablets) dei posts stessi affinchè tutti possano leggerli.  Il dibattito è sempre interessante per tutti…..grazie (è indispensabile lasciare nome e cognome – i commenti anonimi non saranno pubblicati)!!