Philip Petkov, Piano
The Consulate General of Bulgaria
New York, NY
February 23, 2017
Far from the madding crowds of New York’s larger venues, in an elegant second-floor room at the Consulate General of Bulgaria, a gathering of music lovers enjoyed a recital of piano music that felt in some ways like a throwback to an earlier day. The concert, which seemed scantily publicized but drew a warm, appreciative group of listeners, showcased the artistry of Belarussian-born pianist Philip Petkov, who studied in Bulgaria and now lives in the United States. His playing, including well-loved selections of Scarlatti, Chopin, Scriabin, and Gershwin, matched the surroundings in its unassuming elegance.
Mr. Petkov opened with two Scarlatti Sonatas, the very popular E major, K. 380, L. 23 (a favorite of Vladimir Horowitz, among others) and the perhaps equally well-known C major (K. 159, L. 104). One was struck immediately by Mr. Petkov’s meticulous attention to each tone and his delicacy of articulation – a joy to hear. Liberal flexibility of tempo, some inspired subito piano moments, and other surprises bespoke a free and unabashedly Romantic approach. The omission of repeats kept things flowing.
A Chopin group followed, starting with the Polonaise in C-sharp minor Op. 26, No. 1. Many pianists tend to gravitate towards the more bravura works – like the “Heroic” Polonaise (Op. 53), the “Military” (Op. 40, No. 1) – so Mr. Petkov’s more lyrical selection was refreshing. What emerged in the playing as well was Mr. Petkov’s sensitivity to each harmonic turn and his careful shading. In a city where pianists abound, this should not be an unusual quality to find, but many pianists do steamroll right over the nuances. There still is, in Chopin’s tonal world, such unplumbed depth that, even after generations of commercial over-exposure of so much of his music, there is always more to hear; it does however, take sensitive musicians to find it. Mr. Petkov did admirably.
The Polonaise was followed by both pieces from Op. 64, the C-sharp minor Waltz and the D-flat (“Minute”) Waltz. These were played with the requisite fleetness and charm (despite the occasional glitch), though one sometimes wanted greater sheen to the more obvious upper line and less absorption in the interesting tonal discoveries beneath. Mr. Petkov has the lithe technical control to do both.
Moving on to a larger-scale work, the program proceeded with Chopin’s Ballade No. 4 in F minor, Op. 52. If one had characterized this pianist as chiefly a player of delicate miniatures, one was corrected in short order. Mr. Petkov showed ample power and stamina for its many demands and showed us the beauty of holding power in reserve until it is absolutely time to unleash it, which he did to powerful effect. The infamous coda was navigated well, at a rather measured tempo, but with plenty of intensity.
Two of Scriabin’s loveliest Etudes followed, the gentle Op. 8, No. 4 in B major and Op. 8, No. 5 in E major. They were again sensitively played, with the E major enjoying some highly skillfully rendered legato octaves.
The recital was capped off with Gershwin’s Three Preludes, played with gusto. It was a joy to witness the relish that Mr. Petkov took in the first Prelude’s syncopations and in the guttural expressiveness of the central blues Prelude. The third Prelude brought the concert to a fiery close, inspiring hearty applause and the audience joyfully into the reception hall. It was a highly fulfilling evening, and I look forward to hearing this sensitive player again.
