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excellent CD, beautifully recorded and put together KLASSIEKE ZAKEN, Willem Veldhuizen CD 'Pictures at an Exhibition' Russian pianist Misha Fomin begins his new CD with Ravel's Jeu d'Eau written in 1901. His interpretation is transparent and flowing, with supple rubatos and luxuriant sparkling harmonies. The two Debussy Preludes demand no less riches: they are truly becalmed and a picturesque halfway house to the whimsical world of Scriabin which follows. Listen to the playful scherzo-like Etude op 1 no. 8 in which the speed of the virtuoso performance never smothers Misha Fomin's delicate touch. And do listen to Etude op 8 no. 11 in which a Rachmaninov-like theme of familiar Slav melancholia gets the fullest and most dignified characterisation. As a finale Misha Fomin produces a monumental performance of Mussorgsky's Pictures at an Exhibition. He has all the boisterous power to give the work both the orchestral allure and reflective pathos it needs to fill the music with mystery. The Ballad of the Unhatched Chicks is finely-spun, his Two Jews, Rich and Poor, is deeply expressive and dramatic, and the Market Place in Limoges shows the limpid onward flow of the melody. The final Great Gate of Kiev combines Fomin's consummate musicianship with his deep understanding of the music. An excellent CD, beautifully recorded and put together. |
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well-balanced and engaging recital LUISTER August 2002 CD 'La Campanella' Beethoven, Chopin, Liszt, Tchajkovsky, Rachmaninov A well balanced and engaging recital of the Russian born pianist, Misha Fomin (1969, Nalchik), who now lives in The Netherlands. He is a former student of Jan Wijn. He performs Beethoven and Chopin well, but not with particular distinction. His interpretation of music composed or arranged by Liszt is outstanding with a subtlety of touch and phrasing, a refinement of musical expression together with a natural display of virtuosity. From nr. 5 onwards the recital is of a superior quality, emitting superbly the distinctive styles of the European romantic and early-modern piano repertoire. Misha Fomin does full justice to the dreamy atmosphere of 'Les cloches de Genève', as well as to Debussy's subtle impression of a mediterranean summer evening in 'Les sons et les parfums tournent dans l'air du soir', and to the more solid and dramatic work by Scriabin and Rachmaninov. |
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| Refinement
an outstanding feature of pianist Misha Fomin's performance EINDHOVENS DAGBLAD, Marjolijn Sengers, March 2002 recital at Geldrop Castle (Eindhoven) in The Netherlands The name of Misha Fomin is still relatively unknown in The Netherlands. Fomin is a Russian born pianist who only recently completed his classes with Jan Wijn, and who is now persuing a musical carreer in our country. It was the good fortune of Geldrop Caslte to have such a talented pianist giving such a magnificent recital in a relatively small space. Once his obvious talent is more widely recognised and fully appreciated, Misha Fomin is unlikely to return to such a small auditorium. As a talented pianist with a natural gift for musical expression, I expect this to happen sooner rather than later. His manner of playing is on the whole rather lyrical. His touch is remarkebly well balanced and refined, always measured, but never wanting should a forceful hand be required. This Sunday afternoon in Geldrop the outstanding feature of his performance was refinement. Refinement was most apparent in his interpretation of such pieces as 'Les cloches de Geneve' and 'Les jeux d'eau a la villa d'Este' by Franz Liszt, requiring lyrical expression as much as near impressionistisc clarity. Refinement was also the main feature of his interpretation of 'Hungarian Rapsody' by the same composer, requiring techical skill and virtuosity in equal measure. The Ètudes by Chopin were performed with due self-discipline, notwithstanding a genuine display of romantic sentiment. 'Meditation' by Tsjaikovski en 'Legende and Scherzo' op. 12 by Prokofief were succesfully performed bringing out the flair and temperament of this Russian born pianist. Fomin's timing is near perfection, the balance between technical excellence and emotional expression nearly optimal. His control over the instument is such that his succes is ultimately due to his ability to do justice to the music for music's sake. It was obivous that many in the audience did appreciate this: seldom did I see so many listen with their eyes closed in order to fully enjoy and take in the music. |
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| MISHA
FOMIN, a subtle and genuine performer
Public interest in the concert series at the Geldropse Strabrecht Theater continues to increase at a crescendo rate. Yesterday afternoon a large and eager audience made its way once again into the concert hall, to listen to a recital by Russian pianist Misha Fomin. After his graduation at the conservatorium in Moscow, the artist, born in 1969, continued his studies at several prominent locations in Europe, including with Jan Wijn at the Amsterdam Sweelinck Conservatorium. Yesterday, Fomin’s romantic programme made a deep impression on his audience. His technical skill is fully applied to the music and his approach to yesterday afternoon’s compositions was quite direct and natural. He attaches so much importance to the integrity of the music that one may sometimes wish for a little more joyous refinement. A supreme moment of the afternoon
was undoubtedly the beautifully and sensitively delivered performance
of the Intermezzi Opus 117 by Brahms. A carefully crafted composition
with a gradually increasing dynamic impact and moreover a “Schrei
aus tiefstem Herzen”. The composer used to play his own Paganini-Etudes
Opus 35 in the early morning by way of a warming-up exercise. The
latter underlines Brahms’ remarkable technical skill and that
of any other interpreter, because of the high level of technical
competence and virtuosity these pieces demand Fomin’s delivery
of the Etudes was both brilliant and colourful. Quite remarkable… |
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| Engaging
Piano Performances by Fomin and Sokolov TROUW, Christo Lelie recital in Het Concertgebouw, Amsterdam Grigory Sokolov and Misha Fomin are Russian concert pianists from different generations. Sokolov is a mature and already well established and much appreciated master pianist. The 33 year old Fomin is like other Russian-born talented musicians persuing a career in the Netherlands. Last Sunday both Russians gave a recital at the Concertgebouw. For Misha Fomin it was his second performance at the Concertgebouw, offering a technically exeptionnaly demanding programme, with the 24 Etudes opus 10 and opus 25 by Frederic Chopin being the centre pieces alongside work by Brahms and Liszt. The Chopin Etudes are amongst the most difficult pieces in the piano repertoire and compulsory for advanced students at music colleges. They combine exercises in virtuosity with an opportunity for displaying musical refinement. In the achievement of both lies the secret of a fine performance. Not many pianists dare play all of the 24 Etudes by Chopin in a concert hall. Years ago Yuri Egorov who died when still very young achieved this with great success in Amsterdam. Technically Fomin's performance did not in any way fall short of Egorov's achievement. His interpretation of Etude opus 10 nr. 4 was so overwhelming that the audience gave him a spontaneous applause. The lyrical etude opus 25. nr. 7 and the spectacle of the last two etudes also made a lasting impression. Even so and with all respect for his wonderful performance Fomin's playing would benefit from a little more finesse and lighter touch. His ability to achieve these is beyond doubt as was amply demonstrated by his interpretation of Liszt's 'La Campanella', his second 'encore' and the most memorable performance of his recital... |
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| Misha
Fomin feels at ease with Liszt NOORDHOLLANDS DAGBLAD, Hans Visser, November 2002 recital in Het Concertgebouw, Amsterdam 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 showmanship. 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 reluctant 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. |
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talented performance by Misha Fomin DE GOOI EN EEMLANDER, Josée Zuiver Recital in Naarden with works by R.Schumann and Brahms The Russian
pianist, Misha Fomin , who already gave a concert in Naarden once
before, was invited back to give yet another recital. Fomin offered
a considered and well-balanced programme: before the interval three
Intermezzi (Opus 4) by Robert Schumann followed by Etudes Symphoniques
by the same composer and after the interval three Intermezzi (Opus
117) by Johannes Brahms followed by the Variations on a theme by
Paganini, also by Brahms. |
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