The debut of an unfinished

Having drove the endless number of concert venues laid down by the winner of the Van Klibern, in different hemispheres (in the Marathon schedule of the tour, I counted 20 performances in the first three months of the year), Vadim Kholodenko finally gave his first solo concert in the Great Hall of the Native Moscow Conservatory. He dedicated him to the memory of his outstanding teacher Vera Vasilievna Gornostaeva, repeating the program played last summer at Gergiev’s “stars of white nights” in St. Petersburg.

The program is notable for the fact that it is defiantly not really a single hit - neither you transcendental studies, nor appassionates. The audience understands that she came here not for this. Only on the snack-the 19th Hungarian Rhapsody with a kind of branded Kholodenkovo ​​absurdity grin. And so in the first branch - not the most common Russian silver age (three tales of Metner and sonata Balakirev), in the second - the same German nineteenth (seven fantasies of Brahms, “call” from the “poetic and religious harmony” of the sheet). On BIS - Persell from the repertoire of Anton Batagov. Go figure out what the pianist had in mind.

But to understand style ties and roll calls is not necessary. Because in the performance of Kholodenko it is all - the current, today's, relevant music, belonging to the person behind the piano. And it’s even good that not all of it was in due time cast into a honed masterpiece: it is easier to sculpt from raw and viscous material.

The 28-year-old pianist does not look at the debutant at all. The technical circumstances of his game are immediately taken out of brackets - the accuracy of sounding notes does not raise questions. It is much more interesting to monitor their meaning and persuasiveness. The pianist just as if he takes your hand and confidently leads you along some kind of clear, but one well-known trajectory. In this sense, by the way, it is very successful, friendly and somehow, or something, the name of its annual author’s festival, launched from this season, Karelian Philharmonic: “The twentieth century with Vadim Kholodenko” looks safe. And in this case, an exciting walk is also proposed. He wants - he will lead to the almost intangible Pianissimo Brams, he wants to - in a completely fantastic, suspended Russian fugue Balakirev.

I could not even assume that the claisty of the young pianist in such a responsible and nervous place as the BZK, instead of the usual boring critical clicks from the category, “noted - did not make me”, caused me to get the old Soviet volume of the “annals of life and creativity” Mili Alekseevich Balakirev and plunged into the study of his life in 1905. “The mood of the spirit is nowhere good from reading all addresses and petitions. Thunder and fateful clouds are gathering over the unfortunate Russian people in the form of different noble lusts of both liberal and conservative. ” The famous teacher of the “mighty pile”, a sixtieth innovator, became an old and sick person, turned into a conservative, quarreled with Rimsky-Korsakov because of disagreement with his sympathy for student unrest, “has long rusted and soda”, according to his former comrade-in-arms, the musical critic of Vladimir Stasov, and made the latest edition of this very one. The piano sonata, after the performance of which Vadim Kholodenko, the conservative gallery began to enthusiastically whistle and stuck.