pianist Alexandre Kantorow in a marathon from Prokofiev to Alkan & Medtner with an Anders Hillborg premiere

The opening of the concerto had a ‘As soon as upon a time’ really feel to it earlier than the music picked up velocity, the orchestra’s vividness being matched by the dazzle and element of Kantorow’s enjoying. This was about element slightly than sheer impression, with moments of poetry. It felt a vibrant, younger males’s efficiency, but Kantorow introduced out a sense of impressionistic tone-painting as time appeared, sometimes, to slide. The construct as much as the recapitulation was terrific and the tip of the motion merely stupendous. The second motion appeared to maneuver between wit and edge, and extra impressionistic moments, although in direction of the tip issues constructed right into a positively orgiastic climax earlier than a touch of the opening motion introduced issues to an in depth. The third motion, which the composer described as an argument between soloist and orchestra, started with a way of relentlessness although neither Kantorow nor the orchestra made the music heavy. There was a gentle onward power to the efficiency with Kantorow demonstrating wonderful stamina, each engaged and engrossing. Time eased, and we returned to a extra impressionistic really feel, concentrated and intent with music that appeared to hark again to earlier within the work. The ending, nonetheless, was relentless, stuffed with power and assault.

Fairly what you adopted that with is anybody’s guess. Eschenbach had deliberate to carry out Schoenberg’s orchestration of Brahms, although fairly what this work would say to the Prokofiev, I do not know. Because it was, Ticciati selected Dvorak’s penultimate symphony and any doubts about why this specific work have been knocked out by the merely terrific efficiency from conductor and orchestra. The symphony belongs to that group of later works the place Dvorak’s music took on a extra intricate, multilayered strategy which meant that Ticciati’s eye for element introduced out the sheer richness of the music.

We started with a classy and fluid account of the stunning cello melody, the opening stuffed with calm element earlier than the vivid construct as much as pleasure of the primary part. Right here there have been a number of contrasts of timbre, texture and color, the vividness offset by extra relaxed moments. Ticciati introduced compelling drama to the recapitulation, the entire lithe, youthful and joyful. The second motion started with a wealthy string sound, in dialogue with some intensely intimate wind enjoying. However that is all merely a prelude to certainly one of Dvorak’s most partaking but splendidly complicated passages, Ticciati encouraging all sections of the orchestra to contribute to the entire. The ending of the motion was intense, with Ticciati actually not going for the straightforward choice. In contrast, the third motion appeared to be virtually a Viennese waltz, with beautiful woodwind swirls, orchestra and conductor making a richly subtle delight. The finale opened with the vivid trumpet melody which acts as a motto theme all through. The primary topic returned us to the richly sonorous cello part, the road having a classy sense of raise and class. The swagger of this motion was offset by the transfer right into a Czech Furiant, the entire stuffed with pleasant contrasts. There was actually a way that Ticciati and the orchestra have been having fun with themselves right here, even with the offended Furiant that introduced the work to a conclusion.

Alexandre Kantorow returned with three of Alkan’s Preludes, Op. 31. Alkan wrote 25 in all, masking all 24 main and minor keys. We started with No. 8, ‘La chanson de la folle au bord de la mer’. An odd, excessive RH melody over a deep, darkish LH. There was a second of orgiastic climax within the center, however the majority of the motion focused on a way of time suspended as Kantorow brilliantly captured the work’s unusual environment. Then got here No. 13, ‘J’étais endormie, mais mon cœur veillait’ the place a young RH melody unfolded over throbbing LH with occasional threatening notes within the bass. Lastly, No. 18, ‘Sans trop de mouvement’ which was haunting and considerably waltz-like.

In 2024, Kantorow obtained the distinguished Gilmore Artist Award and the fee to Swedish composer Anders Hillborg was supported by the Gilmore Worldwide Piano Pageant. Hillborg’s work, Kalamazoo Movement was named for the city in Michigan have been the Gilmore Pageant takes place. Kalamazoo Movement started with a easy, evocative folk-like melody which developed a two half texture earlier than shifting into one thing extra complicated. All through the work, these three components moved between one another, creating a way of interrupted move, vividly quick, impetuous passages alternating with moments of calm. Although the opening simplicity did return, the ending was positively virtuoso in is quick furiousness.

Nicolai Medtner’s Piano Sonata in F minor, Op. 5 was his first piano sonata, the primary of 14, accomplished in 1903. There are hints of Rachmaninov and Scriabin, however the work may be very a lot Medtner’s personal. There was a folk-ish simplicity to the opening, the music quick and fluid with moments of actual delicacy. The second motion Intermezzo featured a slightly wandering melody supported by stressed and considerably darkish chromatic harmonies. The third motion, Largo was stuffed with concentrated drama, with a haunting melody of a darkly critical LH. The impetuous finale featured loads of vivid fingerwork.

Regardless of the feats of stamina and technical wizardry, Kantorow gave us a beautiful Chopin prelude as an encore.

Lodge Schweizerhof Luzern prepared for Schaghajegh Nosrati’s recital