REVIEWS

The concert’s theme of “brilliance” found an apt exponent in piano soloist Reed Tetzloff, who dispatched Prokofiev’s scurrying scales and interlocking-hands pyrotechnics with unflappable cool. In fact, some sort of affect would have been welcome, be it pleasure in athleticism or sparks of wit, to humanize the whole business—unless a 1920s age-of-machines aesthetic was what the pianist was after. In any case, his digital prowess was definitely a wow. And to be fair, he did project the first movement’s lyrical theme nicely when he had a chance.

The cozy confines of Merkin Hall, while not conducive to a big, blended symphonic sound, perfectly suited some of the neoclassical aspects of Prokofiev’s concerto, particularly the almost chamber-music scoring of the second movement, a theme and variations on a gavotte-like tune. Soloist Tetzloff and orchestra sections combined to create colorful miniatures ranging from a thumping march to a nebulous nocturne to a bit of cocktail piano.

“And they’re off!” again in the Allegro con fuoco finale, as the sixteenth-notes went flying with Tetzloff and Pegasus neck-and-neck in the back stretch. But this being a Russian concerto, everything had to stop for a grotesque little hopping tune and then a love theme that just kept soaring higher and higher. Pianist, conductor and orchestra did full justice to all these elements before getting back to the business at hand: brilliance and motion, to the max, to the end.

For an encore, Tetzloff played an arrangement of music from an opera by Jean-Philippe Rameau, revealing some fine voicing and luminous tone that the motoric concerto hadn’t called for.

The Chopin Society had to change course recently when Canadian pianist Charles Richard-Hamelin, scheduled to play a sold-out concert at Mairs Concert Hall on Sunday, couldn’t perform because his visa petition was denied, despite multiple submissions.

The good news was that a pianist the organization knows well, Reed Tetzloff...

Before you yawn at yet another Schumann/Grieg coupling, you should know that this one is different: Reed Tetzloff and John Eliot Gardiner don’t offer the Schumann we all know...

Der US-amerikanische Pianist Reed Tetzloff und der einstige Originalklang Avantgardist Sir John Eliot Gardiner musizieren gemeinsam und das mit dem Luxembourg Philharmonic abseits aller historischen Instrumente Robert Schumanns und Edvard Griegs Klavierkonzerte in a-Moll, Op. 54 in der Version 1843 bzw. in a-Moll, Op. 16...

Le couplage est classique. Dès le microsillon, il s’imposa sous les doigts de Claudio Arrau, de Géza Anda, tant suivirent, mais Reed Tetzloff et Sir John Eliot Gardiner ajoutent au rayon Schumann une nouvelle version, entendez une nouvelle version du texte...

Dans cet espace où l’acoustique avec un piano à queue Steinway est un peu étrange, c’est surtout le jeune pianiste américain Reed Tetzloff qui a fait une forte impression...

Remarqué au Concours Tchaïkovski 2015, Reed Tetzloff séduit dans le Concerto no 4 de Beethoven par une sonorité limpide, une profondeur sans affectation, une maîtrise digitale jamais ostentatoire.

Le fructueux voyage de Jonathan Biss dans le continent des Sonates de Beethoven laissait espérer les Concertos, les voici. Il les prend à rebours commençant par l’« Empereur », geste ardent, pianisme somptueux porté par un plein jeu à dix doigts d’une suprême éloquence et d’une simplicité d’accents, de lignes, de traits, qui n’exclut pas les raffinements ; la palette des nuances est plus d’une fois troublante, d’autant que le tempo ne se relâche jamais.

Reed Tetzloff (né en 1992) se pose sans doute moins de questions que son compatriote mais on apprécie ce premier degré réjouissant, ce piano plus coloré, voire espiègle avec ses petits ornements inattendus. Et tout le monde y croit, car cette gourmandise est partagée par Pawel Kapula à la tête de l’Orchestre philharmonique de Prague.

Encore un enregistrement des concertos pour piano de Beethoven, telle pourrait être la remarque que nous pourrions faire en découvrant ce CD… Or, il n’en est rien, le jeune interprète Reed Tetzloff nous en livre une lecture virtuose, brillante.

On Sunday afternoon, the young American virtuoso Reed Tetzloff wowed the Maverick audience, filling the rustic splendor with playing the like of which we have not heard since the days of Horowitz and André Watts.

The opening Concerto Night of the Miami International Piano Festival peaked with a bracing reading of Schumann’s Piano Concerto by Reed Tetzloff. Combining artistic intelligence, immaculate technique, and daredevil bravura, Tetzloff’s playing was idiosyncratic in the best sense of the term. Leading an excellent 31-piece ensemble, conductor Hobart Earle was a full partner in this revitalized iteration of a repertoire standard.