Simon Trpceski * * * * *
Birmingham Town Hall
Review by Christopher Morley

Having already proved what a perfect venue it is for choral, baroque and chamber music, Birmingham Town Hall hosted the first piano recital on Sunday since its triumphant refurbishment.

The soloist was one of the most exciting young pianists on the world stage, although "exciting" is perhaps the wrong word, for Simon Trpceski is among the most thoughtful of artists.

His brilliant technique is totally at the service of interpretations which cut to the core of his material in playing which goes beyond the mere notes.

A piano sonata by Scriabin in the improbable key of G-sharp minor began with self-communing, confiding chords projected so clearly beneath the lowered acoustic canopy, and ended with a fleet tarantella crisply delivered by Trpceski's well-balanced hands.

Chopin was evoked here, and the Polish composer's B-flat minor sonata followed, its coiled tension released in unforced strength.

The famous Funeral March grew inexorably in power, with a magical change of timbre for the consolatory major-key interlude.

After this the mysterious finale was a whirlwind of rat-like scurryings - a pessimistic vision of the soul's despatch to torment, perhaps.

Three late Brahms Intermezzi drew from Trpceski warm, contained tone and fluidity of line, before a total change of mood and style brought music by Debussy to conclude the official part of the programme.

Subtle pedalling, adroit keyboard colouring and a genuine sense of fantasy and characterisation informed Trpceski's account of the Children's Corner Suite.

L'Isle Joyeuse, such a compendium of Debussy's style and vocabulary, was limpidly given, before a record-breaking (for this venue, and perhaps anywhere) five encores.

Well-chosen Brahms and Debussy complemented what we had heard, and we also enjoyed a colourfully Balkan piece by a Macedonian compatriot.