Still some room for improvement

Still some room for improvement

The people of kissingen remember. In 2008, he was already there once, when he courageously stood up to the wunderkinder supremacy from st. Petersburg – not unsuccessfully at all. Now the fearless knight has become a real pianist.

Although there is still some room for improvement, as with scarlatti’s sonatas in G major K 13 and A major K 113. There was the touch of pilsan’s mentor lars vogt, but not his dynamic ability to differentiate and his precision: the young man moved later mainly in the mezzoforte range. One had been inspired by haydn’s sonata in C major. XV:50 more structures, more cords, more musical breathing wanted. But: he had opened himself to haydn’s wit, especially in the finale.

And then a triple block of demonstrated virtuosity: in chopin’s C major etude op. 10/1 you can’t really show anything else than the ability to run your fingers. With rachmaninov’s etude-tableau op. 33/4 aaron pilsan showed that he can create quite profitable, if he does not put himself under pressure. And franz liszt’s etude trancendante nr. 8, ("wild chase") turned out to be a fabulous piece of work because, despite the enormous technical requirements, it put the design in the foreground.

After the break, with schuberts c-minor-sonata D 958 aaron pilsan had found his music, there he was completely with himself. There it was not about romantic small parts, but about long arcs and the sustainability of ideas. He had concepts, he was able to show some of himself, he created coherences and contrasts. There he was, finally, individually.

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