The venerable Matinee Musicale recital series shows no sign of slowing down as it prepares for the finale of its 106th season.
There are dozens of spectacular rising pianists across the world, and all have dazzling technique. But it takes more than accuracy to carve out a career in this uber-competitive field. One of the key elements is an ability to communicate with and move audiences. Another is having an artistic point of view that is expressed through unique programming and a singular interpretive approach.
One such artist, from all reports, is 27-year-old Reed Tetzloff, who brings a diverse, broadly romantic program to Memorial Hall this month, the type of repertoire that has set him apart from the pack, and which has provided an effective vehicle for his expressive talents.
Born in Minneapolis and educated in New York City at Mannes College, Tetzloff has made his mark via the competition circuit. Followers of the Cincinnati World Piano Competition may remember his bronze-winning performance of the Liszt Concerto No. 2 at CCM in 2014.
A year later, he was semifinalist in the XV Tchaikovsky Competition, and hailed as the event’s “Lyric Hero.” In the fall of 2017, Tetzloff released his debut solo recording: “Sounds of Transcendence,” music of Franck, Griffes and Scriabin.
Tetzloff’s beauty of tone and his emotional connection with both music and audience are the hallmarks of his emerging career. And his championing of lesser-known works with bravura flourishes has been received well by critics.
According to Marc Rochester of MusicWeb International, in reviewing the pianist’s debut solo recording, “Tetzloff has thought long and hard about the music, has taken possession of it, and, with the kind of opulent technique we regard as pretty near obligatory in young pianists today, delivers a performance of immense individuality and conviction.”
And Patrick Rucker wrote, reviewing the CD for Gramophone Magazine, “I found myself returning with relish to the (Scriabin) Op. 38 Waltz, where Tetzloff perfectly captures an overripe fin de siècle insouciance, poised just this side of trashiness.”
Lucky for attendees, this waltz just happens to be part of the plan for Tetzloff’s program here.
May 19, 3 p.m.
Memorial Hall, Over-the-Rhine
General admission tickets: $25.
Box seats: $30. Students: $10
Debussy: “La cathédrale engloutie” and “Les collines d’anacapri,” from Preludes, Book I
Scriabin: Prelude in B flat minor, Op. 37, no. 1; Valse, Op. 38
Debussy: “La fille aux cheveux de lin,” from Preludes, Book I; Feux d’artifice, from Preludes, Book II
Scriabin: “Désir,” Op. 57, no. 1; “Vers la Flamme,” Op. 72
Wagner: Elegie in A flat major, WWV 93
Wagner/Liszt: Isoldes Liebestod: Schlußszene aus Tristan und Isolde
Liszt/Busoni: Fantasia and Fugue on the Chorale “Ad nos, ad salutarem undam”
Debut solo recording: “Sounds of Transcendence,” music of Franck,
Griffes and Scriabin