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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Replacing the scheduled concert by Helène Grimaud …
Sergej Belyansky makes his debut in Milan. A Russian pianist who is not exactly young (32 years old) and has already won many competitions (though not the most prestigious ones), he presents a program characterized by two different approaches. The first part consisted of compositions based on the theme of “Follia,” a Spanish theme from the 16th and 17th centuries that has been the subject of many variations, and the second part consisted of a classic of Romanticism and a piece by the worst Liszt based solely on technical acrobatics devoid of musical meaning. Belyansky is a pianist gifted with great technique and musical sensitivity. Like all pianists of the Slavic school, he performs 18th-century pieces (Bach) in a non-philological manner, using the pedal and coloratura. Obviously, Rachmaninov is congenial to the Russian pianist’s personality, and so the variations on Corelli’s theme (the “Follia“) were performed flawlessly. The same can be said of Liszt’s Rhapsodie Spagnole, a musically beautiful piece in the first part (again, “Follia”), while the second part (a “Jota”) is highly questionable, flashy and exhibitionistic in the worst Liszt tradition. The performance of Schumann’s Carnival, Op. 9, was somewhat questionable. Here we see once again Belyansky’s limitation in not resisting the temptation to transform the pieces into a muscular musical gymnasium. While this is reasonable in some of the “scenes mignonnes” (e.g., “Paganini”), it is excessive in others (e.g., the opening and closing scenes). In short, Belyansky sometimes ‘slips up a little’ and, given his age, which would suggest musical maturity, this is a flaw that he will have to correct. He is not just a muscular pianist, he has great musical sensitivity, but he must have the courage to rein in his exuberance. Three encores: Liszt’s “Bell,” a piece from Schumann’s Faschingsschwank aus Wien, and Liszt’s “Liebestraum.” Three excellent performances and a display of great technique in the bell, performed immaculately at a spectacular speed.

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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)!!