"Philippe Bianconi commands a lucidly singing tone, liquid and alive, and transparent technique".
Real Beethoven was next, the Piano Concerto No.4, with a returning favourite, Philippe Bianconi, as soloist. Not having audited Bianconi's earlier - and highly acclaimed - Madison appearances, I can now say I know what all the fuss is about. Not only does Bianconi command a lucidly singing tone and transparent technique, but his interpretation is full of the kinds of subtle touches that refresh event the best known repertoire.
In the central Andante, Bianconi produced a sound that can only be described in metaphysical terms: with a tone so liquid and alive, it was as if you were watching water being poured into a pitcher, and then somehow the process was slowed down before your very eyes. The rondo finale found Bianconi full capable of moving from he "snap-crackle-pop" of the main theme to glimpses of moonlight in the lyrical episodes.
An insistent ovation led to a solo encore that by itself was worth the price of admission.
Unannounced by Bianconi, some help from new marketing director Henry Peters gave us the knowledge that is was "Warum?", the Op. 12, No.3 "Fantasiestucke" of Schumann. An incredibly attentive audience held its breath to savour the lingering of the final notes.
Madison Magazine, Greg Hettmansberger