“Early Piano pieces”
Music by Per Norgaard
“The Sonata determinate (1949/50) is already gritty, its craggy central slow movement beautifully delivered by Sivelöv. Other delights include a set of three incredibly touching intermezzi Trifoglio,…”
“Sivelöv plays with great affection and feeling, imbuing each and every page with just the right sensibility and feeling.”
“a delightful album and one that illustrates the early career path of this excellent composer.”
The Art Music Lounge, November 2017
★★★★★ “The artistic quality is certainly amazing”
Magasinet Klassisk DK
6 stars in the German magazine Piano News
“Man weiss nicht, was man hier mehr bewundern soll: den Einfallsreichtum dieser ebenso originellen wie intellektuellen Werke oder die Art und Weise, wie Sivelöv Ihnen zu Leibe rückt-mit einer Mischung aus Spielwitz, Pathos, Entdeckerfreude und Leidenschaft, die einfach nur begeistret.”
More reviews and info:
“I can also report that fans of Sviatoslav Richter’s “live” 1975 London “Hammerklavier” will find a kindred spirit in Sivelöv. His tempos, timings, and “Romantic” approach are quite similar to Richter’s.”.. Jerry Dubins
Fanfare Magazine 2018
live from Piano Visions in Stockholm April 2019
LeFrak Concert Hall, Queens College
Niklas Sivelov, piano
Wonders never cease! Here is a Swedish pianist (also composer) who has been completely off my radar; indeed even Google does not tell you much. And yet, this is one of the best piano recitals I have heard.
Right from the declamatory start of the Bach Partita No. 2 one knows this is a pianist of substance. Dramatic, finely spun, yet with nothing forced (an absolute no-no in Bach for me), the opening set the tone for the piece. the dance rhythms are naturally rendered, yet at times spontaneous and almost jazzy. The counterpoints and the balance between the two hands are always perfect. This is Bach playing of the highest order, and I have never heard better, live or on record.
The Beethoven Op 111 is equally awesome, opening also in a dramatic declaration. Sivelov’s excellent technique ensures there is no ugly struggle, yet the uncommonly inventive music is deeply probed and hugely satisfying. The program I have to say is highly intelligent, and his playing makes us aware of the dance and jazzy elements common to both pieces. Bravo!
After a brief intermission, Sivelov plays a group of Scriabin, Sonata-Fantasy No. 2, Deux Morceaux (Op 57 and 59), and Feuillet d’album, Op 58. which are all rendered with the utmost color; the sometimes abruptly shifting vistas always sound interesting and never drifting, as they can be in lesser hands. The last piece was stirring account of Bartok’s Sonata. As before, Sivelov’s rhythmic command is unassailable.
The pianist is a bit of an eccentric (perhaps that accounts for his obscurity). His soft shoes do not go with his tux, but one understands why he wears them, as he is prone to tap on the floor. Even more unusually, he vocalizes extensively, but the sounds are not the usual sing-along type (Glenn Gould), nor moaning (Keith Jarrett), rather hoarser and closer to hissing and forceful exhalation. These antics can be distracting, but I’d gladly put up with them when the playing is on such lofty grounds.
This was a free lunch time recital on campus; the small LeFrak Hall is beautiful and cosy, and acoustically excellent. The program is going to be repeated at Town Hall today (also free); I almost feel like going again.
Posted by doctorjohn at 11:12 AM No comments:
Labels: Jazz, 听后感 Concert Review
19 September, 2018