Evgeny Kissin in the Musikverein – Diepresse.com
Evgeny Kissin, the silent thinker on the piano, captivated the music club with a program in many ways.
Was Evgeny Kissin’s piano evening planned as a cycle? Above all the transcendence of Bach. Then reflection and grief in two Chopin nocturnes, followed by the shimmer of hope of Scherzo. As the highlight of the mocant darkness of the Schostakovich sonata and then over two (inspired by Bach) preludes and joints of Schostakovich and the first encore, the Bach-Kecommen « Siciliano », to close the circle? That may be too much interpreted into the program – you could trust the thinking thinker on the piano.
The mixture of pessimism and optimism could explain why Bach’s second partita started so fully, hesitated, almost roughly. In doing so, the tones mixed in the over -articulated Andante of the introduction that the clarity suffered. The stiff pulse never slipped, with all romantic approach, that was best shown in the final, very level and simply beautiful Capriccio.
With all of this, it is better to just listen to Kissin instead of watching him: the grimaces, the strained blinking and nodding, bending back and forth is almost worrying. Unlike other pianists, however, you never think that someone here pulls out a show of the « emotionally sunken artist »: Kissin is always authentic in his own way.
The CIS minor nocturne sounded much more gentle, dark and apart-almost cubistically, until after the increase, a certain degree of sunny normality finally nestled. The E-Dur Scherzo.
Ernst and humor at Schostakovich
In the second half, the glasses and the grades came out and it went properly and extra concentrated to the matter with the second piano sonata Schostakovich. She played Kissin in all her rousing swing, the seriousness and the very undergross humor, the dark and the friendly in it alike. The first set, the first sentence, fully painful rapture, the larger, almost approaching to Debussy, and finally the finale, which always surprises with its catchy tune. With a lot of patience and nervous energy, Kissin worked through the slow structure of the moderato to get to the frenzied allegretto con moto – and end in the moving moderate. A highlight, such as the prel studies and joints (major and D minor). They aroused the desire to finally experience the entire ingenious Opus 87 from Schostakovich in the Musikverein.
