Pianist Alexander Malofeev

WEIGHTY RUSSIAN SONATAS IN MALOFEEV'S 222 GALLERY RECITAL

Russian pianists on American tours often play blockbuster programs, so it was no surprise that Alexander Malofeev’s s recital in Healdsburg’s posh 222 Gallery had Rachmaninoff’s monumental B Flat Sonata as the capstone.

The 21-minute work in the 1931 version received a thunderous reading that favored powerful pianism at the expense of refinement. Well, it’s that kind of a piece. It’s in three movements that sound almost as one, and throughout Mr. Malofeev built the many climaxes with potent sonority, leavened by the subtle repose of the lovely slow section.

The demanding technical challenges never seemed a hurdle for the pianist, and his playing was actually rhapsodic at times, with a lovely piano tone even at fast tempos, high volume and difficult hand positions.

The pianist’s approach at this recital avoided the ruthless keyboard pounding of countryman Denis Matsuev, and fortunately it was closer to another Russian, the superstar Daniil Trifonov. This was evident in the two Beethoven Sonatas of the first half, the “Moonlight” (Op. 27, No. 2) and the “Tempest” (Op. 31, No. 2).

Initial playing in the C-Sharp Minor was slow with ample shift pedal use and some old fashioned breaking of chords, with strict tempo. The Allegretto was played conventionally, eschewing the piquant dance character. Of course the artist let loose in the Presto Agitato with a bevy of tremolos and staccato chord passages. Loud applause ensued.

Mr. Malofeev’s performance of the D minor Sonata was one of the recitals highlights, as his combination of careful pedaling in the recitatives was masterly. All the musical interruptions made the four-note melancholic motive in the finale all the more persuasive. Here also ritards were at a minimum and the even, flowing tempo gave the music (mostly quiet) perfect shape and weight.

Prior to the Rachmaninoff Moisey Weinberg’s Fourth Sonata, in B Minor, was heard. This work from 1955, now being played more since the Russian pianist Gilels discovered it, was initially played very fast with detaché touch and speedy scales. There is a dab of Prokofiev here, but the real reference is to Shostakovich’s harmonic style. However, Weinberg’s Sonata is quite unique, and over 22 minutes Mr. Malofeev wove a lovely tapestry of beguiling sound. His left-hand skips were exact and control of the constantly shifting dynamics faultless.

If convincing playing in the recital was quiet, the encore was a balanced mix of sound – Pletnev‘s transcription of a Tchaikovsky waltz from “Nutcracker” ballet. The audience, the largest at the 222 Gallery in recent memory, rose for another ovation.