Winner of several prestigious awards, he has performed at
such venues as Sadlers Wells with the Pina Bausch Wuppertal Tanztheater , the
Salle Gaveau Concert Hall in Paris, and the Kolarac Concert Hall in Belgrade as
well as playing at Buckingham Palace on the occasion of HRH Prince Charles’ 50th
birthday celebrations.
Bijelovic studied at the Royal Academy of Music, London with
Professor Patsy Toh and Professor Colin Stone as well as having lessons with
Professor Niokai Petrov, Professor Arbo Valdma, Professor Snezana Panovska and
Professor Irina Plotnikova.
He was a guest performer at the 5th ASEAN
International Chopin Competition in Malaysia in 2011 and appeared at the
Edinburgh Fringe Festival in August 2012.
I am particularly pleased to have been given the opportunity
to hear a new recording from Bijelovic entitled Empassioned supported by Kickstarter.
www.kickstarter.com/projects/viktorbijelovic/brand-new-cd-by-classical-pianist-viktor-bijelovic
. This new disc features works by Beethoven, Gluck, Chopin, Debussy,
Rachmaninov and Liszt.
 |
| Kickstarter Limited Edition |
The first work Bijelovic plays is Beethoven’s Piano Sonata No. 23
in F minor, Op. 57. ‘Appassionata’. The Allegro assai has a thoughtful opening that contrasts well with the
fiery allegro which Bijelovic projects to the full. He has a fine rubato that
points up all the drama and a left hand that delivers all the underlying
nervous tension. Bijelovic’ technique is first rate. He catches all the ebb and
flow, all the tensions in this music with a tremendous fluency, not missing any
of the poetry. Bijelovic resists the temptation to overstate the opening of the
Andante con moto with playing of
reserved control before gently allowing the pulse to increase, allowing a
little underlying tension to show through. There is playing of some beauty here
in the way that this pianist subtly colours the left hand line. This is finely
controlled playing creating an arch like feel as the music returns to its
opening tranquillity.
As Bijelovic strides into the Allegro ma non troppo of the finale, again there is that terrific
rubato and a left hand line that gives the music so much passion and tension.
The Presto brings playing of fire,
power and dynamics leading to a tremendous coda.
This is a remarkably fine Appassionata.
This recital continues with Gluck’s Melody from Orfeo
and Euridice (arr. Sgambati). Whilst Bijelovic’s poetic side was apparent
in his Beethoven, here in Gluck’s Melody
he displays it to the full. This is a lovely encore piece that receives a
beautifully judged performance. The climaxes are occasionally a little brittle,
perhaps due to the recording which is otherwise very fine.
Bijelovic displays a reserve in the opening of Chopin’s Ballade No 1 in G minor, op. 23. What may at first seem rather
too steady an opening soon develops into just the right tempo and flow, rising
to some fine climaxes. For all the slower tempi in the quieter moments there is
a feeling of freedom, spontaneity even – and always that fine rubato. He climbs
superbly through this Ballade with playing that demonstrates his fine touch,
fluency and sheer technique in an account that is nevertheless finely
considered.
Chopin’s Nocturne in
C-sharp minor, Op. 27, No. 1 is a fine choice for this recital with its
somewhat dark, unsettled nature so very
well highlighted by Bijelovic who again holds back, never allowing the music to
be rushed. In the more volatile passages this pianist shows some terrific
playing, fiery yet controlled. His considered approach pays dividends even more
this time, bringing out so much more of Chopin’s troubled nature.
Bijelovic’s degree of reticence brings a new light to Debussy’s much played Clair
de Lune from his Suite bergamasque as if he is sitting at the piano
improvising. Yet, as before, with his Chopin, when he allows the music to
build, it is all the more impressive for his earlier holding back. In many ways
this is a mesmeric performance.
Who couldn’t resist Bijelovic’s vibrant performance of Rachmaninov’s Prelude in G minor, Op. 23,
No. 5, beautifully paced, full of strength and power, with an affecting
middle section that draws out so much pathos. I loved this performance.
Viktor Bijelovic concludes his recital with Liszt’s Hungarian Rhapsody No.2, with
phrasing and tempi that point up Liszt’s changeable rhythms. He shows some
lovely limpid playing as well as the ability to pull together Liszt’s slightly
manic changes of mood where one doesn’t often know if the music is atmospheric,
serious or simply having fun. This performance is great fun to listen to, showing
Bijelovic’s formidable technique with nothing that Liszt can throw at him
presenting any problem.
As a calling card this disc is, no doubt, intended to show
his versatility and range but I found myself wanting to hear more of his
Beethoven and Rachmaninov.
Viktor Bijelovic is a fine pianist that will be worth
watching. I am sure that we will be hearing more of him. The new disc is well
recorded in the Jacqueline du Pre Hall, St Hilda’s College in Oxford.
Available from Amazon and iTunes
No comments:
Post a Comment