MISHA FOMIN FEELS AT EASE WITH LISZT by Hans Visser
Review in Noordhollands Dagblada, a regional newspaper, on 26.11.02
Recital : Misha Fomin, piano. Work by Liszt and Chopin : Concertgebouw Amsterdam
on 24th November 2002.


It is quite daring for a young pianist to make his debut at the Amsterdam
Concertgebouw on the same day that master pianist Daniel Barenboim gave his first
recital in 30 years. However it did not make the debut of Russian born pianist,
Misha Fomin, less of an event. It offered moreover an opportunity to appreciate how
talented musicians can benefit from receiving part of their musical education
during masterclasses and concerts given by 'Holland Music Sessions'.
Fomin, whose backgroud is similar to Kissin's has already received several
awards and is now moving on to present himself to a larger audience. In doing
so he does obviously not avoid the challenge of a demanding programme. He is
especially well at ease with music by Liszt. This was immediately apparent when
he began his recital with 'Les cloches de Genève''. The integrity of Misha Fomin as a
musician who allows the music to speak for itself. The use of a Fazioli grand piano
contributed quite clearly to a more lyrical interpretation.
As a composer Liszt did not betray his Hungarian origin. Fomin understands this.
The melodic quality of Liszt's paraphrasing of Verdi's 'Rigoletto' was
performed with due emotional intensity. Fomin never resorts to easy showman-
ship. On the contrary, his interpretation does full justice to the lyrical quality
of the music, keeping the audience spellbound. Equally his interpretation
of Liszt's arrangement of Chopin's 'Meine Freunden'.
With the latter piece the rectial moved on to the Polish composer whose 24 Etudes
were subsequently performed. Because of the need for technical skill they represent the
ultimate test of a pianoperformer's ability. Even Horowitz and Richter were re-
luctant to face this challenge. Even though for an audience, listening to all 24 Etudes can
be quite demanding, Fomin's interpretation was generally exciting, keeping his audience
emotionally engaged.
Fomin's genuine musical integrity may well in this instance have been to his advantage.
As with other pieces Fomin did not overplay his hand, and made no attempt to
outperform the music. He does not get easily carried away. This does not mean that
his piano playing is devoid of exuberance, except when the music requires it. For
instance, in the last of the first 12 Etudes a genuine deepening sound by the left hand
allows the right hand to display with vigour the lyrical quality of the music.
Fomin's interpretation of the next 12 Etudes gave the audience a most wonderful
musical experience, to be followed by a remarkably exciting performance of
'La CAMPANELLA' by Liszt, yet another example of Fomin's style of piano playing.
For Fomin, Liszt remains essentially Liszt. No attempt is made to overwhelm the
audience. All he wants is for the audience to hear and enjoy how special the
music of Liszt is.