Soloist Simon Trpčeski showed full command of the piano part, skilfully negotiating its avowedly awkward keyboard writing. The piano’s relation to the orchestra alternates between consolation and confrontation. He managed both, but was more impressive in the former. The tremendous sense of struggle in the work, especially in its long and eventful first movement, was slightly muted on this occasion, despite some potent playing of its chromatic trills and double octaves. However, Trpčeski was fully satisfying in the subsequent movements. The Adagio was a benediction, appropriately so since the manuscript is inscribed Benedictus qui venit in nomine Domini. Whether or not that refers to the tragedy of Robert Schumann, this was affecting pianism. Trpčeski set a lively tempo in launching the finale, the élan in his playing and that of the LSO earning a heartfelt cheer from the packed house.

Making his second visit to Tasmania, Macedonian pianist Simon Trpčeski took on one of the really big pieces in the concerto repertoire – the Brahms Piano Concerto No. 2 in B flat, Op. 83. He brought both ardour and strength to bear on this grand work, but also an unexpected fluent delicacy to many passages where a heavier approach is often taken.He brought both ardour and strength to bear on this grand work, but also an unexpected fluent delicacy to many passages where a heavier approach is often taken.He brought both ardour and strength to bear on this grand work, but also an unexpected fluent delicacy to many passages where a heavier approach is often taken.

The remarkable double act returns! Britten and Pears? Morecambe and Wise? No, it’s the Macedonian pianist Simon Trpceski and the Romanian conductor Cristian Macelaru, last seen delighting us with Shostakovich’s two piano concertos, now doing the same with the pair by Brahms. Each work is a repertoire colossus, though with these musicians even the most jaded listeners must come away not just refreshed, but excited as well.

This is oratory Brahms and it takes a big player, such as Trpčeski certainly is, to do it justice. The movement’s opening horn/woodwind motif is perfectly played by the members of the WDR Sinfonieorchester and Trpčeski responds with a commanding cadenza, his shifts of tempo always well judged. Note the assertive tutti that follows, the superbly balanced bassoon-led woodwinds at 2'28", then the swinging pendulum at 2'56" (a typically Brahmsian gesture). In the scherzo Trpčeski proceeds towards the big central tutti, where Cristian Măcelaru holds the pace steady, then in the slow movement the pianist’s rapturous response to the solo cellist’s theme (more beautiful playing, I presume by Oren Shevlin) is extremely moving. The finale on the other hand is transparent and crisp.

Trpceski's entry was modest but warm, with endless time to work over gentle phrases. Limpid expression asked little of the audience save to let the music wash over & immerse the hall. Brahms' muse, Clara Schumann, might have been present in the woodwind chorale that drifted in over rumbling piano before a fresh spark reignited the attack in majestic melody & harmony. Between solos Trpceski seemed to be shaping the sound as if conducting, returning to the keyboard for ethereal meanderings; lifting in cadenza-like flurries then fading to a chordal ensemble cadence.Launching instantly into the Rondo finale, Trpceski attacked with verve & virtuosic flair, handing off to the orchestra for another mood swing and frenzy of notes.All were spectators for a brilliant cadenza display that drew the orchestra into a final canter through blistering runs to a bombastic conclusion.

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Transcriptions of Macedonian traditional music

by Pande Shahov in collaboration with Simon Trpčeski

23.10.2023 / Sombor, Serbia / Somus Festival / Svečana sala Gradske kuće / 19:00h / Concert details

24.10.2023 / Zagreb, Croatia / Vatroslav Lisinski Concert Hall / 20:00h / Concert details

26.10.2023 / Novi Sad, Serbia / Nomus Festival / Sinagoga, Novi Sad / 20:00h / Concert details

28.10.2023 / Timișoara, Romania / Filarmonica Banatul Timișoara - Sala Capitol / 19:00h / Concert details

Born in Skopje, virtuoso pianist Simon Trpčeski is one of the most sought-after pianists today! With his powerful pianism and deeply expressive and unique interpretations, he won not only the hearts of listeners in concert halls around the world, but also left critics with only one choice: reviews of his concerts are turned into panegyrics! He performed as a soloist with the world's largest orchestras such as the New York Philharmonic, the San Francisco Symphony, the City of Birmingham Symphony Orchestra and the London Royal Philharmonic Orchestra, with whom he performed last season in the Lisinski Saturday cycle.

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Friendship comes out of a strong sense of belief, stemming from his country’s struggle throughout the age, his love for music, his faith in humanity’s inner strength and, above all, his friends and colleagues who made this recording happen. Mirroring this confidence-embracing approach, the neatly curated repertoire includes Brahms’s fiery Piano Quartet No. 3 in C minor, a work full of love, power and boldness. Connesson’s jaw-dropping Divertimento is presented in a fantastic newly available arrangement by percussionist Vlatko Nushev. And sandwiched between the two, Pande Shahov’s three-movement Quintet ends in a triumphant manner.

Macedonian pianist Simon Trpčeski and his international group also treated us to a newish piece by another Macedonian, Pande Shahov, in a nicely-proportioned programme that started with high seriousness and ended with a fluffy-light soufflé.

The pair began with Mozart’s Violin Sonata in E minor K304 – a genial, if subdued opening. Vengerov’s rivers of legato were even more delectable when combined with the sonorities from his 1727 ‘Kreutzer’ Stradivari. Prokofiev’s First Violin Sonata upped the temperature considerably, with Vengerov in high-concentration mode during the eerie filigree passages. Rough-hewn lunges during the second movement were tempered with sweetness, while Trpčeski felt like an amiable demon at the piano. The mellow, introspective Andante eventually yielded to the reprise of the violin filigree in the finale, returning like a love letter.