Prokofiev's Piano Concerto No. 3 , the most famous of his five concertos, is a true test of virtuosity for the soloist. From the frenetic first movement, the electrifying tone that conductor and pianist would adopt as the premise of their performance was immediately clear, all without sacrificing clarity of expression. Simon Trpčeski himself, when addressing the audience before playing a couple of encores, mentioned that he was celebrating his twenty-fifth anniversary as a performer, so perhaps it would be somewhat redundant to comment here on how technically and expressively impeccable his interpretation was. Furthermore, he possesses a natural charm that makes him a delight to the audience when he is on stage. The variations in the second movement were very elegant, and the third movement was exciting in its tempo. The ovations for Trpčeski were well-deserved, and he immediately shared them with the orchestra and the conductor.

Composed in 1921, Prokofiev 's Third Piano Concerto balances virtuosity and satire, modernity and classical structure. Simon Trpčeski ( Skopje, 1979), a pianist with a solid international career and a frequent guest of leading European orchestras, approached the work with extraordinary energy and expressiveness . From the opening bars, he imposed a brilliant sound and decisive attack, with precise articulation, though at times more urgent than crystalline.

The Theme and Variations displayed flexibility and subtle nuance; the final Allegro ma non troppo , a burst of controlled energy, alternated humor with lyricism without losing its pulse. Petrenko's touch, dynamic range, and almost improvisational naturalness completed a portrait of great vitality. He accompanied with rigor and ease, underscoring the rhythmic architecture without stifling the piano's expression. The Royal Philharmonic, supple and with a pristine sound, responded with cohesion and precision, especially the woodwinds, which displayed extraordinary agility.

A score delivered with humor, dynamism, and elegance. The audience enthusiastically rewarded Trpčeski, and the pianist responded with "Dance of the Peppers," a rhythmic Macedonian dance. As if the impressive performance he had given in the concert and dance hadn't been enough, he then dared to tackle the tremendous Precipitato from Prokofiev's Seventh Sonata , dedicating it to Alfonso Aijón in fine Spanish. A breathtaking interpretation, so intense that it drew a standing ovation.

As it’s so well-known, it needs a soloist who can breathe new life into it and who has the right mix of fiery virtuosity and poetry.  Soloist Simon Trpčeski not only had plenty of fire in his fingers for the dazzling pyrotechnics but he was able to wring every bit of emotion from the heart-on-sleeve lyrical sections.  Simon was also extraordinary to watch.  The way he establishes relationships with audience, conductor and orchestra is fascinating.  In this performance he coaxed a huge range of colours from the keyboard, always completely in control of what he was doing, right up to the final note at which he sprang off the piano stool.  The audience’s cheers led to more Grieg as an encore.

Monte-Carlo Philharmonic: Stunning Trpčeski, amazing Kochanovsky! The problem with listening to Tchaikovsky's Piano Concerto is that you've heard it so many times by dazzling performers that you risk being disappointed. You need an extraordinary soloist to be truly satisfied. We had this soloist in Monaco. It was the Macedonian Simon Trpčeski.

A breathtaking pianist! You had to see his hands leap onto the keyboard, multiplying in dizzying octaves, making bursts of chords spring forth and then, the next moment, caress the keys with exquisite gentleness. You had to hear the roundness of his touch. You had to let yourself be surprised by these little suspenses that he created at the end of his phrases. At his side, the orchestra surrounded him with a sumptuous accompaniment. In the second movement of the concerto, he benefited from the precious responses of cellist Thierry Amadi , flautist Raphaëlle Truchot , and oboist Matthieu Bloch .

As an encore, he called on the help of the same Thierry Amadi and the violinist Liza Kerob to perform a piece of Tchaikovsky's trio. A moment of delight!

The Macedonian pianist demonstrated world-class performance and unparalleled virtuosity in a program that cleverly played with the connections between the works, on Thursday evening at the Maison des Associations et de la Culture Robert-Lieb in Bischwiller.

The festival opened with Macedonian pianist Simon Trpceski on Thursday. He has performed with more than 100 orchestras on four continents. Between a tour of the United States and a production with the Monte-Carlo Orchestra, the concert artist warmly accepted the invitation of the organizers, led by pianist Inga Kazantseva, to give a generous and confident recital to the Bischwiller audience. The works of Beethoven and Tchaikovsky, mirrored, follow one another in the first part to form a sort of gigantic fantasy with protean soundscapes.

The Russian theme from the ballet Das Waldmädchen (a lovely discovery for music lovers!) is echoed by the nostalgic autumn song October by the Russian composer. Dumka, ending in C minor, naturally segues into the Bonn master's 32 variations on a theme of the same key. In any case, one is captivated by the refinement and clarity of this keyboard, with its sparkling articulation and perfectly measured pedal strokes, and its sound appearing diaphanous in the MAC's acoustics. Subtle, clearly outlined intermediary voices emerge at every moment, opening up a permanent dialogue in a superb phrasing that transcends the lyrical essence of the scores. An unsurpassed Nutcracker! More technical, the second part further reveals the artist of the great international halls, whose virtuosity practically defies imagination. If Ravel's Valses nobles et sentimentales constitute a formidable performance, matched by a gesture of perfect purity, the transcription of the Nutcracker leaves one speechless. Trpčeski manages to blend the art of dance, the power of the orchestral palette, and its depth of field with a mastery that is difficult to match. The salutes are pouring in: a Poulenc tribute to Piaf, a Macedonian song, Elgar's Adieu, and above all a festive four-handed performance with co-director Kazantseva, on two Hungarian Dances by Brahms. Vibration(s) couldn't have started better!

The festival offers another intriguing performance on October 21 at Hong Kong City Hall that blends traditional Macedonian folk songs with influences of jazz, Chinese music – and Cantopop.

The quintet of musicians who make up Makedonissimo, led by pianist Simon Trpčeski, will play their signature blend of emotional and exuberant folk music with jazz and classical elements. Later, they will perform a specially created segment featuring traditional Macedonian tunes, Cantopop and Chinese music alongside Hong Kong Chinese Orchestra’s suona (trumpet-like) principal Ma Wai-him and (stringed) huqin player Chan Pik-sum, with Hong Kong Cantopop composer Johnny Yim arranging two medleys for the segment.

The idea for the collaboration came about from conversations between Trpčeski and the Asia+ Festival organisers.

“As an ensemble, we are open to embracing the world with the music,” he says. “So I suggested that we can make a blend and collaborate with local artists, local tunes. Because this was the idea also of the [Makedonissimo] project. And we have absolutely shown respect to many different people from many different cultures, wherever we went. And we saw the reaction and we can see the power of the music.”

The other members of the quintet are Hidan Mamudov on clarinet, alto saxophone and kaval (a traditional Balkan flute), the violinist Aleksandar Krapovski, cellist Alexander Somov and percussionist Vlatko Nushev.

Even though Macedonian folk music, Cantopop and traditional Chinese music and instruments may not initially seem to share many similarities, music has the power to cross boundaries and passionate musicians, including members of Makedonissimo, are eager to explore new forms and put their own twist on it.

Nushev, for example, performed with some traditional Korean percussion instruments when the group took part in the Music at PyeongChang classical music festival in South Korea.

Krapovski says he sees similarities between the violin and Chinese stringed instruments. “Music is universal so we always find bridges between [Asia] and Southeastern parts of Europe,” he says. “And there are certain intonations and things that we actually find in common as well.”

Mamudov adds: “In our Balkan music, there is actually a lot of Oriental influence.”

Somov, who is originally from Bulgaria, says he finds adapting to different types of music as a member of Makedonissimo to be an enriching experience.

“We are all classically trained but we are also exploring different techniques; we are exploring different approaches to the music,” he says. “Whether it be with [instruments] we wouldn’t usually use or techniques that we wouldn’t usually use in our classical performance. It’s like learning a new language and it can be very meaningful.”

Trpčeski says Macedonian folk music is emotional and can be seen as a symbol of life. “This is music that connects people, brings people together. It is music that is used at people’s gatherings, at people’s weddings,” he says. “So there is a lot of love, a lot of sorrow, a lot of passion, a lot of happiness also.”

Makedonissimo gives folk music the classical treatment at the hands of the five musicians, with Trpčeski calling it “highly sophisticated chamber music”.

“And with the universal language of music, it’s quite a unique and effective way to showcase Macedonian culture to people in Hong Kong. And to make the world a little bit smaller through the concert,” he says.

Simon Trpčeski began his recital with Beethoven's 12 Variations on a Russian Dance from "Das Waldm ädchen" in A major, WoO 71. He immediately struck with his concise touch, the nuances of which were clearly audible throughout the hall. With a beautiful touch, he presented this relatively unknown music alternately playful and lyrical. The pianist approached this fairly early work from the perspective of Haydn and Mozart, placing less emphasis on the capriciousness and roughness so typical of Beethoven's later style.

He continued with October from Tchaikovsky's Seasons, Opus 37a. He performed it beautifully, although a slightly slower tempo would have emphasized its nostalgia even more. The Dumka opus 59 is one of the most pianistic pieces by this composer and it was played firmly and with a serious tone at the end.

Lastly, the 32 Variations in C minor on a unique theme, Beethoven's WoO 80, also belong to his better-known variation cycles. Here, the unruly composer, so familiar from his later sonatas, is much more evident. Trpčeski played these with presence and, incidentally, demonstrated how perfectly the new Steinway grand piano he was unveiling that evening was tuned.

The Macedonian pianist possesses a remarkable technical prowess, which is reflected in his impeccable playing. Nevertheless, I wasn't entirely won over before the intermission, perhaps because his playing had sometimes sounded a little too "neat." I felt the same way about his rendition of Ravel's Valses nobles et sentimentales . Here, again, the playing was impeccable, alternately firm and subtle, but not overly sensual. The overall tone remained somewhat earthy, which was a shame, because this pianist possesses the kind of subtle touch that can work wonders in this hyper-sensitive music. Despite these minor quibbles, the Epilogue sounded beautiful.

In the final work on the program, a Suite from The Nutcracker, arranged for piano by Mikhail Pletnev, the pianist was clearly in his element. This was possibly also due to Tchaikovsky's infallible music, which held its own in this arrangement. The March of the Tin Soldiers sounded immediately virtuosic, while the well-known Dance of the Sugar Plum Fairy once again worked its magic. In the Tarantella , the pianist's playing was strikingly clear, allowing you to hear every detail, and the Intermezzo – A Pine Forest in Winter – sounded almost as refined as Pletnev himself plays it. The audience nearly applauded after each movement. In the final section, Andante maestoso (Pas de deux), the pianist's playing was evocative.

Loud applause followed, after which Trpceski sat down at the piano and exclaimed loudly , "I am thinking of what to play." Indeed, you just have to have the right encore ready, even while you're still high on adrenaline. In his brief explanation, he mentioned the legendary pianist Shura Cherkassky, who supposedly said that the 32 steps of the staircase were "the loneliest you could imagine." It was fitting that he mentioned his famous colleague, because the first encore, Poulenc's Hommage à Edith Piaf, wouldn't have been out of place at a Cherkassky recital (whose encores remained the absolute highlight of his recitals!). With the second encore, the Precipitato from Prokofiev's 7th Sonata, "the fire was clearly unleashed." And these are, in fact, the moments you kind of wait for: unbridled momentum, passion, fury, and virtuosity. It was all there in this rapidly played movement, as was its sardonic character. Trpceski's ingenuity was in maintaining the fast tempo while also preserving the clarity of his playing. Fortunately, it didn't degenerate into a breathless gallop with many dropped notes. He concluded with a composition by his analysis teacher (whose name I didn't catch), which, after a quiet beginning, ended with a frenetic finish. Trpceski then gave a beautiful fourth encore of "Villa Lobos," which he spontaneously and unexpectedly dedicated to an emotional Marco Riaskoff of the long-successful "Master Pianists" series, in which the pianist has performed several times.

Grieg’s concerto, with the sensitive Macedonian pianist Simon Trpčeski at the keyboard, proved the crowd-pleaser it was intended to be, but Mr. Trpčeski’s interpretation eschewed light and bright for darker and more interesting hues. And though he can, and does, play dazzlingly fast, he just as often favors a slower pace, bringing a tantalizing melancholy to these familiar strains. Ms. Zhang obliged him, to everyone’s benefit.

A timpani roll, and dramatic descending chords from pianist Simon Trpčeski, had audience members holding their breath in rapt anticipation. Trpčeski, known for his charismatic stage presence, delivered an electric performance, his fingers dancing across the keys. He was also not afraid to draw out pauses during his solos, adding suspenseful flair to his heroic intensity. Such artistry earned him a standing ovation well over a minute long.

The highlight of the evening was Saint-Saëns Piano Concerto No.5 performed by Simon Trpčeski, one of the most interesting contemporary pianists. He chose the Petrof 275 concert grand piano for his performance in the Rudolfinum, and wonderfully leveraged the unique color properties of the instrument. Trpčeski is known for his ability to quickly establish a warm rapport with the audience, which he demonstrated in the Rudolfinum. The audience showed their appreciation for the soloist and the orchestra with thunderous applause. For one of his encores, he performed the 3rd movement from Prokofiev' Sonata No. 7 — the performance was so electrifying that it lifted the audience from their seats. 

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