Stanislav Khristenko, Piano
Stanislav Khristenko, piano October 15, 2009 Weill Recital Hall at Carnegie Hall, New York, NYStanislav Khristenko, a Ukrainian pianist and first prize winner of the Virginia Waring international piano competition, made his New York recital debut recently in a thoughtful, focused, and ultimately successful concert at Weill Recital Hall. The pianist revealed deep reserves of artistry and professionalism as the evening progressed, saving his most incisive and colorful playing for the program-ender, five short pieces by Prokofiev.
There was an unusual sense of risk in the pianist’s choice of the Shostakovich first sonata, op. 12 to begin the program. As Mr. Khristenko was acclimatizing himself to his instrument and the hall during this sonata, he did not make a thoroughly convincing argument for this work’s value. His talent and technique were in evidence immediately, but he pushed the tempo and over pedaled in scale passages where more clarity would have been appreciated. While I respect the challenge, this composition would be easier to play and hear in a later spot on the program.
In Schubert’s Sonata, d. 958, the pianist again took time to find the right approach to this work, both technically and interpretively. The Steinway at Weill hall is weak in the middle register, and I could hear Mr. Khristenko struggling to produce a singing tone in the first movement without forcing the sound. His voicing was bass heavy initially and his rubato a little stiff until he hit his stride in the final two movements. Most especially, the tarantella was a delight–alive rhythmically, yet relaxed, sounding simultaneously Schubertian and Italianate.
By the second movement of the Schumann C Major Fantasy, which began the second half, Mr. Khristenko was in full control of all his resources and played with a maturity that belied his young age. The performance was organic from beginning to end, and one of the best I have heard of this difficult work. With the briefest of pauses, the pianist then launched headlong into the Prokofiev.
In these five excerpts from ten pieces, op. 12, Mr. Khristenko was completely in his métier. Each selection sparkled like a gem, honed to perfection. These would have been impressive performances from any artist, but they were all the more joyful from a pianist at the outset of his career.
Mr. Khristenko has the poise and intellect of a seasoned performer. Despite the fact that all his programming choices were not ideally suited to his temperament, I applaud his appetite for adventure and discovery.
