JAN LISIECKI recital in Florence
JAN LISIECKI recital in Florence
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. 15-45, photo Mathias Bothor” src=”http://kulturkompasset.com/wp-content/uploads/2013/11/Ian-Lisiecki.-15-45-photo-Mathias-Bothor-400×294.jpg” alt=”” width=”400″ height=”294″ /> Jan Lisiecki. photo Mathias Bothor
Florence, Italy, Teatro della Pergola, 2013 november 16th
Program:
O. MESSIAEN
Preludi: La colombe (n. 1)
Chant d’extase dans un paysage triste (n. 2)
Le nombre léger (n. 3)
Istants défunts (n. 4)
J.S. BACH
Partita n. 1 in si bemolle maggiore BWV 825
I. PADEREWSKI
Minuetto op. 14 n
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. 1
Notturno op. 16 n. 4
B. MARTINU
Tre Danze ceche H. 154
F. CHOPIN
Dodici Studi op
. 10
Jan Lisiecki. photo Mathias Bothor
FLORENCE: The program chosen by pianist Jan Lisiecki for his debut in Florence, Teatro della Pergola, seems to come from the past.
The first part of this “music-afternoon” contains four curious Preludes by Olivier Messiaen that show a post-impressionistic descriptivism (Messiaen in the 1920th hadn’t yet found a personal expressive way), followed by monumental Bach’s Partita nr 1.
Then came two unexpected Paderewski‘s compositions, probably a tribute of the young pianist to his parents’ homeland, Poland, one of which (Minuetto) was famous many years ago: tape recordings by Paderevski himself still exist. At last, three dances by Bohuslav Martinu, rather modern music uneasy to play that doesn’t add anything nor to Martinu’s stature as a composer, nor to piano literature in general.
Lisiecki shows a very good preparation and technique although not faultless, a nice bright touch, an approach to the keyboard that seems very natural (he started to play piano as a child), and a good sound volume.
Probably he seems to avoid many expressive subtilities that could seem senthimentalism, but actually would just represent expressive depths.
His expressivity is sometimes as restrained and modest, and he also gives the impression not to be very interested to some pages, like Chopin‘s Study nr 3 opus 10, where he seems to be afraid to be moved and to move the listener. But when it’s about to show the teeth he’s ready, showing bright and pearly notes cascades, even if often staying just on the surface.
Lisiecki is a young but mature enough pianist; he should mesure out his capabilities looking to grow better as we all hope, so he’s a pianist to follow in the coming years.
The young pianist appears such as Death in Venice’s Tadzio, pale and very tall, growned up too quickly. Although rather scarce, the florentine audience has been very warm with the pianist, who played as encore, a Prelude from opus 25 by Chopin, what was really very well executed.
Fabio Bardelli
translation from italian Bruno Tredicine