Last night was the last piano recital of my trip and the young French pianist, born in 1997, delivered a powerfully virtuoso performance. Here is the program, already including the two encores, the second of which I actually recognized.
JOHANNES BRAHMS
Rhapsody in B minor op. 79/1
FRANZ LISZT
‘Chasse neige’ from Études d’exécution transcendante S 139/12
‘Vallée d’Obermann’ from Années de pèlerinage I (Suisse) S 160/6
BÉLA BARTÓK
Rhapsody op. 1
INTERVAL
SERGEY RACHMANINOFF
Piano Sonata No. 1 in D minor op. 28
JOHANN SEBASTIAN BACH
‘Chaconne’ from the Partita No. 2 in D minor for violin solo BWV 1004
Version for piano (left hand) by Johannes Brahms
ENCORE
CAMILLE SAINT-SAËNS
Theme from "Samson and Delilah" (Nina Simone Version)
MAURICE RAVEL
Jeux d'eau
What was so interesting to me was that he chose to end the program with the least virtuosic piece: the Bach Chaconne. Not to say that it does not require considerable technique, but compared to the rest of the program, it is technique on a simpler level. But it was still the most powerful piece on the program proving once again, that aesthetic strength does not lie in either virtuosity or complexity.
Kanterow was much enjoyed by the audience who leapt to their feet in a standing ovation. He is, as has been said elsewhere, not only a virtuoso powerhouse, but also a poetic one. In 2019 he was the first French winner in the history of the International Tchaikovsky Competition.
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| Acknowledging applause at the Haus für Mozart |
Walking out of the concert last night I suddenly realized that the Festival could actually put on three different operas simultaneously as the Haus für Mozart, as well as the Felsenreitschule and the Grosse Festspielhaus all have the facilities to put on a full-scale opera--and in fact do, every year. Not sure there is anywhere else in the world where three separate opera houses can all be found in the same block...
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