A paradox, perhaps, but it’s a significant marker of individualism that every time Alexandre Moutouzkine appears, he sounds like a slightly different pianist.

Bajo la batuta de Arturo Diemecke se inicio la velada con el Concierto para piano de Scriabin. Obra de su juventud, fue escrita en unos pocos dias en el otoño de 1896, aunque no terminó completamente la orquestación hasta Mayo de 1897.

Flashback: The incredible young pianist Alexandre Moutouzkine first showed Greenwich audiences his astonishing artistry in the Rachmaninoff Piano Concerto #3 in 2012 with the Greenwich Symphony, a performance which left the audience collectively gasping.

Por Emilio Sanmiguel
Especial para El Nuevo Siglo
LOS APLAUSOS del respetable fueron tan calurosos, que Alexandre Moutouzkine resolvió regalar, no uno, sino tres encores al final de su recital de la noche del pasado sábado en el Teatro de Colsubsidio: Lilacs de Rachmannov, El otro estudio y Niña con violín.

The performer’s humorous, yet unpretentious accompanying remarks aided in connecting the performer with his audience, and made it fun to follow the lines of new repertoire.

Alexandre Moutouzkine leans slightly towards the piano, with great respect, the way one ask a girl to dance, as if to ask permission before laying hands on. The pianist never imposes himself upon you but simply lets you enjoy the music. He opens a whole parallel world made of feelings and poetry where the soul speaks to the soul instead of the hand to the ear. He makes the most of what his instrument has to offer, without ever sounding like he’s playing the piano.

The young Russian-American pianist Alexandre Moutouzkine makes one aware of how inadequate stereotypical expressions are when describing some of the remarkable young musicians before us today.