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Alexander Melnikov in the Pierre Boulez hall : A man, five pianos

Why is the Pierre Boulez hall so popular? Because he is new, of course. But also, because the programs are exciting knitted differently, because you have to break expectations. This is liberating, window aufreißend. A man, a piano? Of due: 2018 Alexander Melnikovs CD "Four Pieces, Four piano" appeared. In Boulez's hall there are now five, three of them from Melnikovs own collection, which are arranged in the wind rose formation. He plays them in a row all starting with the replica of a harpsichord of 1751. A tour de force ride through the music and instrument history.

Who needs more time tutoring, which was exactly in the classic different than in the Baroque period – here, he gets it. The only apparent mainly improvisation interested in and, in fact, almost mathematical accuracy, degree of crystallinity and elegance of Johann Sebastian Bach's chromatic fantasy and Fugue in d minor, contrasted sharply with the almost obscene subjectivity of his son Carl Philipp Emanuel in his later fantasy in f sharp minor. Here a gives in completely to his feelings, says in any grade of "I". The Bach-son as well as of Mozart, Maximilian Stadler edited fantasy in c minor KV 475 Melnikov plays on the copy of the 1795 in Vienna-built piano. At each change of Instrument, the sound is fuller, more modern. With Felix Mendelsohn Bartholdy Fantasie fis-Moll, we arrived in the romantic climes. Melnikov is not a key, a lion, plays with a controlled temper, sometimes rugged, dynamic jumps, but generally speaking, the Reliable, to expect no big Surprises.

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Director of Pierre Boulez's hall", The audience can feel the energy"

Frederik Hanssen

That Chopin is so little, but then he is a. As Melnikov wool to confirm the program folder – this is the fantasy in f minor op claims. 49 is particularly well suited to put Chopin's Image as the pale, terminally ill romantic – he hammers in his 2014 in Berlin, restored in 1885 in Paris built a piano. And missed Chopin completely. The final but with Scriabin's springteufeliger fantasy in b minor and Schnittke's Improvisation and Fugue in 1965, now on a contemporary Steinway, succeed at a furious pace. This music withstands a hard access, challenge him outright. The cool head, the Melnikov also retains here, no harm at all. And because he was with his own Interpretation of the Bach-fantasy from the beginning to be dissatisfied, he plays it as an encore, just one more time. An admission that you don't hear often from a musician. Except in the Boulez hall.

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