On Wednesday evening, Russian Romanticism was the focus of the second evening in the Brucknerhaus series “Piano Recitals” with the Russian artist Alexei Volodin. Despite the cancellation of the “Russian Tuesdays”, a cooperation with the state “House of Music”, it is important to Brucknerhaus boss Dietmar Kerschbaum to continue inviting Russian artists.
Four of the five composers who have gone down in music history as the “Mighty Handful” were represented in Volodin’s programme. Two of the most important and challenging piano works of this time came from this school. Like Mili Balakirev’s oriental fantasy “Islamey”, which is one of the most difficult things you can conjure up with ten fingers on 88 keys. Modest Mussorgsky’s “Pictures at an Exhibition” opens up completely different dimensions. And Alexei Volodin, who is technically far superior, has his very own approach to both works, which deviate from the traditional sound and bring something refreshingly new.
Added to this is his incredible ability to let the tones slide into one another with a splendid legato, but also to celebrate exactly the opposite in the “Tuileries”. A precise, sparkling game that gives weight to every single note. Alexei Volodin knows how to play like a magician with the timbres of the piano.
Borodin’s “Petit Suite” is his only multi-movement piano work, which – actually contrary to the goals of the “Mighty Handful” – like César Cui’s “Causerie” from the piano cycle “À Argenteau” indulges in western romanticism rather than the Slavic soul erupting leaves. But here, too, Alexei Volodin proved to be a shrewd director of tone colors.
Source: Nachrichten
