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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Winner of the last edition of the Busoni competition (and also of the Michelangeli prize), of Russian origin from Petersburg, the 25-year-old Arseni Moon presents himself in Bologna with a varied and, objectively, somewhat questionable program in its structure, in which he seems to want to demonstrate that he knows how to deal with all styles.  Certainly a great talent. Certainly anti-muscular. Moon has an approach that respects the musical dictate, supported by a great technique (I detected only two inaccuracies in the whole concert) and by an approach that has rightly been rewarded by the Michelangeli prize. Moon seems to want to remove the striking aspects of virtuosity from all the pieces performed, dedicating his interpretation to a dreamy, almost Apollonian vision but without ever indulging in forcing the scores. The concert opened with a piece by Busoni (compulsory in the Bolzano competition – certainly not of excellent musical quality) which he wanted to connect to Mozart’s sonata without interlude. A practically perfect performance of the piece by the Salzburg composer (with the questionable choice of deleting the refrains. But then why did the composer insert them?) followed by a piece of great effect (but not of the best Chopin quality), also performed with transcendental technique but always respectful of the compositional style. Why he inserted a single Étude-tableau by Rachmaninov (not one of the most performed) is difficult to understand except for the purpose of concert length. Also in this case an excellent execution. The approach to Mussorsky’s composition, on the other hand, was more problematic. Here some choices seemed very questionable (not least the beginning of the Great Gate of Kiev with a pianissimo) or the absence of dramatic contrasts in Bydlo. But – I repeat – these are choices that have to do with the artist’s sensitivity rather than with the stylistic choice. A great (deserved) success with the public rewarded with three encores: a Chopin mazurka, Liszt’s La campanella (pure virtuosity) and  Feux d’artifices from the second book of Debussy’s preludes.

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)!!