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Avdeeva puts Bach and Shostakovich in front of each other at the Myrtles

You might think the Festival's piano cycle has fewer names than previous years.

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Avdeeva puts Bach and Shostakovich in front of each other at the Myrtles

You might think the Festival's piano cycle has fewer names than previous years. Although it is impossible to duplicate the 2021 concert, few festivals have the budget to include in their programs a concert by Sokolov or Martha Argerich. This year's program included a concert by 'dIvo’ Pogorelich and Perianes as well as Floristan, the young Dovgan, and Yuliana Avdeeva, who won the Chopin prize. The last milestone in the Bach Modern cycle was thus a concert with maximum dedication, much like the Isabelle Faust last week. The same Patio de los Arrayanes stage is capable of engulfing performers as we have mentioned on occasion.

Avdeeva's small stature hides the magic of her fingers. They could do so much more if they had a program as rich and varied as the one last night. Programming well is an important part of concert success. It's not enough to talk about how important programming is. There are also imponderables like the plane crash on the Day of Faust or the untimely rain cloud that pushed the audience against the wall for a few seconds. That's just volcanic chump. The idea of confronting the patriarch Bach, but not confronting him, with the delicious Shostakovich was a great success.

The interpreter is very focused at all times. / ALFREDO AGUILAR

Avdeeva made Eisenach's her compass in the pandemic. She launched a project around BVW's 'The Well-Tempered Clavier,' which featured 47 recitals. These recitals were viewed by over 400,000 people in the first year, and included nearly 2,300 hours music. You, Shostakovich, know what it means for Putin's compatriots despite him.

The recital of Russian music was then at night. The schedule was not impacted by other Festival appointments. His appointment with Arrayanes was moved from the Royal Hospital to Monday. This was done to avoid clashing with Argerich's appearance tonight on the Carlos V.

It is important to note that the warmth and enthusiasm of the audience reflects what was said. The first 'English Suite number 2 in A Minor', BVW 807, is a Tourmalet for any performer. Despite the fact that it is not as difficult as the 'Prelude' contrapuntal presence, it is still manageable. With the 'Allemande, the French influence and its progressive complexity demanded more. The lengthy 'Sarabande was performed with ease, and the Alps-refined 'Gigue’ left a sweet aftertaste. Although we are willing to listen to the less exuberant Shostakovich's music, the 'Prelude number 5' is such a beautiful piece of singing that it becomes a pure diamond.

During the downpour, a portion of the public sought refuge in the courtyard walls. / ALFREDO AGUILAR

Right away, we go back to Bach with the 'Toccata In D major'. Although Avdeeva didn't hum the piece over as Glenn Gould did in his historical recording, her entire body - with how elegantly she raises her arms - imprinted harmony onto the piece. interpretation. Return to Shostakovich's "bocato di cardinale" and finish with "Partita number 2 (C minor)", BVW826. Another authentic delight. Because the key is to surrender to the music, we don't lose the key. A delivery that transcends borders and war. The 'encore" offered by Avdeeva was a valuable work by Valentin Silvestrov, a Ukrainian composer who is one of the most prominent contemporary creators in this country, which has been so severely punished by war.

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