The Keyboard Trust Prizewinners Series – Vitaly Pisarenko – Thursday 16 April 2015 at 7.30pm.
First Prize winner of the eighth International Franz Liszt Piano Competition.
BEETHOVEN – Sonata No.8 in C minor Op.13 (‘Grande Sonate pathétique’)
RAVEL – Miroirs – Noctuelles; Oiseaux tristes; Une barque sur l’océan; Alborada del gracioso; La vallée des cloches
RACHMANINOV – Morceaux de fantaisie Op.3 – 1. Elégie; 3. Mélodie
PROKOFIEV Sonata No.6 in A major Op.82
Vitaly Pisarenko gave his first public recital at the age of six. His initial musical training was in Ukraine (in Kiev with Natalia Romenskaya and in Kharkov with Garry Gelfgat). From 1999 to 2012 he studied at the Central Music School and State Tchaikovsky Conservatory in Moscow with Yuri Slesarev. From 2009 to 2012 he also studied with Oxana Yablonskaya at her Piano Institute in Italy. Since 2012, Pisarenko has been studying with Dmitri Alexeev at the Royal College of Music. He completed his Master’s degree at the RCM (with distinction) in 2014, and is currently studying at the RCM for an Artist Diploma. He is an Emma Rose Scholar supported by a Kenneth and Violet Scott Award. He is also studying at the Piano Academy in Imola, Italy with Boris Petrushansky. In 2008 (aged 21) he won First Prize at the Eighth International Franz Liszt Piano Competition in Utrecht. Since then he has performed as soloist with leading orchestras and ensembles and as a recital soloist throughout the world.
This Wigmore Hall recital programme was chosen for its juxtaposition of different styles, characters and emotions which encompass much that is important in the development of the Romantic and post-Romantic piano repertoire. Beethoven’s famous Grande Sonate pathétique is a relatively early composition (Op.13, 1798) which adumbrates the direction that will be taken by his symphonies and some of the late piano sonatas. This arresting beginning is balanced by a polar opposite: Ravel’s piano cycle Miroirs, rarely heard in its entirety, with it’s rich impressionistic palette of unusual and mystical harmonies, transparent and illusory sounds. Midway in sound and style lie Rachmaninov’s ‘Elegy’ and ‘Melody’ – Nos.1 & 3 of the Morceaux de Fantaisie, Op.3. These pieces are amongst the most delightful miniatures in the essential piano repertoire: romantic creations of extremely beautiful melody and harmony. It would be difficult to imagine a greater contrast with the final work in the recital: Prokofiev’s Sonata No.6, the first of his triad of War Sonatas. This dramatic, tragic, defiant, and even sometimes grotesque composition of 1940 is imbued by the foreboding of the impending arrival of the Second World War upon Russian soil.
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