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Paradise tender triumph6/28/2023 ![]() Kolesnikov’s extensive use of both piano pedals occasionally resulted in muddled or muffled sounds. Fleeting moments of exuberance in three Chopin Nocturnes were subsumed by an overarching aura of pensiveness. It was just one of the many meaningful echoes reverberating through the entire performance. The awareness of the latter, on top of what sounded like delicate dragonfly wings fluttering, was the main distinctive trait in the rendition of Darknesse Visible, Thomas Adès’ short piece based on a quote from Milton’s Paradise Lost. The perception of birdsongs and tolling bells was consistently palpable. He brought forth Messiaen’s very particular harmonic language, textures, and complex rhythms in the three pieces spanning the composer’s entire career. The pianist seemed to suggest that expressing emotions can bring one to the same end point, irrespective if they are anchored in 19th century melancholy or inspired by deep religious beliefs. ![]() ![]() The first part of the recital was a veritable potpourri, mainly intertwining works by Chopin and Messiaen and underlining the Romantic – Lisztian, Chopinian – roots of Messiaen’s output. Building his own musical constellation, creating uncommon musical juxtapositions, between works both well-known and rarely played, Kolesnikov attempted to create a soundscape where the piano navigates between clearly defined havens, but the overall trip is full of mystery, governed by invisible forces and energies. ![]()
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