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Review from Lindau

A multi-faceted

of piano playing

Sasha Grynyuk a concert

From Catherine of Glasenapp

Lindau bleach he acts in his black concert dress, almost shy, long as he concentrates before the first chord of Beethoven sonata sets: The young Ukrainian pianist Sasha Grynyuk who now lives in London, where his great colleague Alfred Brendel and Murray Perrahia is still supported and has held important competitions for himself, surprised this evening in Lindau and over again. He has nothing Straight Cut, removable media, either in his appearance or in his programming, and certainly not in his interpretations. Individually, thrilling is its game in which he always shows new facets of the piano sound and repertoire.

With Beethoven’s Sonata Op 31/2 he quite irritates also: extended so long are the arpeggiated chords, so wild jagged subsequent figures – a glowing passionate pianist is at work here, the intense contrasts loves that and the first set between meditation Explosion aligns takes a lot of the pedal and immediately bone dry fortissimo chords chisels. In the wide-ranging Adagio with its dotted rhythms and embellishments he draws the listener into a large river with beautiful melodies upper voice and sophisticated attack variants, in the final he is driven by the pulse of movement and emotions. Even if the wing sometimes sounds steely, his game looks but not hard.

The energy in his “storm” Sonata releases Beethoven, continues in Schumann’s “Faschingsschwank from Vienna.” With his exuberant temperament, his intense access, but also with a lot of humor Grynyuk shows a rather grim Schumann, who has indeed been quite slow during his visit to Vienna with the Viennese. Even the intimacy of the Adagio romance seems broken again and again, the “Scherzino” for so cheerful jester of how the record label puts it.

The second part of his program, the young pianist composed by the motto “Prelude” asked and showed a variety of forms of this genus. Perhaps best known is, of course, Johann Sebastian Bach, who in turn has encouraged many to edits. In the chorale arrangements, the pianist Wilhelm Kempff has carried over to the piano, Grynyuk presents a full, rich, herkommenden of the organ and reminiscent of the abundance Rachmaninov sound. In the second piece, “Well would you, dear Christians Gmein” he layers chorale melody of the old Christmas carol, engraved clear bass lines and swirling joy figures over each other quite naturally.

Bach reverence and love for jazz

In Gershwin, he mixes the colors of blues and jazz ‘refreshingly bold and beautiful to drive. In Scriabin he delves deep into the rich colors of the Russian romance with her sensuality and her dark bubbling and the sounds which he can nachlauschen. Bach’s E minor Prelude he does not bring in the original, but in the editing by Alexander Siloti – another sound and stop study. Finally, five pieces of Friedrich Gulda’s “Play Piano Play” show the symbiosis of Bach reverence and love for jazz and improvisation, both Gulda as well as Grynyuk: wit, unshakable groove, star flicker, sound colors and a sparking Toccata let the audience cheer. And if the pianist with a bonus game plays “Für Alina” the Estonian composer Arvo Pärt, this is a big exhale after the wild sounds before, an evening prayer and a fascinating new facet of his art.

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