On Tuesdays, Valluzzi (*1994) hosted a musical lunch break in the Mercantile Building, while Liu (*1997) drew the audience to the conservatory in the evening. Valluzzi brought from Chopin’s Nocturne No. 2 in E flat major Based on a program with dance-like features as well as weird features: Debussy Stamp, Images of longing with echoes of Indonesia, Granada and Orpic in Normandy, linking static pieces to imagination, performed by a pianist with subtle sense: the strings of the pagoda are performed with great intensity and concentration, flowing pearls give way to lanes. The pianist translates the imagination of an evening in Granada – where Chopin never went – into real emotional tension and alternating between crystalline tones with a delicate attack of the upper register, domotic overtones without restraint, and adventures of unreserved joy. Debussy’s third piece, which appealed to Normandy, is softened by direct entry into faint tremolo, in which the pianist’s gestures are particularly evident.
For the next two items in the program, we went back in theory to the Iberian Peninsula “El Albaicín” album by Isaac Albéniz And the “Rhapsody Espagnole” by Liszt, the latter is the highlight of the Valluzzi concert, as in both segments the desire for rhythmic independence appears in pauses and jams, resulting in tension in pieces that refer to traditional dances. Rhapsody in particular had a statement feel and was a clear masterpiece of the musician’s idiosyncrasies.
The pianist concluded with dances in its purest three forms Argentina dances for Alberto Ginasteras, in which the impression of the couple’s dance in which the two sides belong to the performer is made clear: they performed in a predominantly decisive and demanding manner, sometimes questioningly as if their performance was a show or a seduction. as such appear a piece of Rodion Konstantinovich Shchedrin, who combined Valluzzi’s little freedom of dealing with rhythm with the affinity for jazz. A short fun ride that grabbed the public’s attention for about an hour.
The evening with Liu was divided into three completely different parts, although the concert program only mentioned a break: The French winger No. 5 in G Major by Johann Sebastian Bach And the Chopin’s Ballads Nos.2 and 3, in F major and A flat major Straight.
Leo’s interpretations of Bach’s wings can be described as subtle: total control of the attack, making intent palpable and one can’t get out too much or too little, plus subtle trills little applied. In Chopin’s poems, a little more raw emotion entered the artist’s playing, which also broke out in his hands, but especially in the left leg, which was not occupied by the pedals.
After the break, more interesting lecture than before “Mirror” by Ravel, where the transitions between the five movements were little more than a note: the silence continued just as the echoes of the last notes. A powerful run that showed absolute focus for 25 minutes. Liu’s restrained and meticulous presentation was more than appropriate for the subjectively reflective theme of music, as if it had been written on the body. A spatial dimension opened up on stage, and a depth opened, due to the continuity that Leo knows how to create by keeping frequency and pauses short, and movements played with one hand and accentuated by the other.
Ravel follows with “Lices Memories of Don Juan” In it the young pianist also showed a passionate side, which developed into a dramatic escalation with listening to the hurried playing, which turned into a surreal finale, after which one would expect collapse to exhaustion, after Bruce Leo, his wearing applause stood, but, allowed to provoke a small concert impromptu five times in total.
Another free and humorous reinterpretation “For Elise” by Beethoven, which gave the ballad for piano students new life as a jazz piece with ragtime jazz personality and revived it as exciting rather than soothing. She also needs the following: a certain part is not from disrespect, but the desire to rearrange the elements of the classical canon. A law set in stone is already dead.