Boris Berezovski

Boris Berezovsky is a student of Elisso Wirssaladze, winner of the 1991 Tchaikovsky Competition, chamber music partner of good people such as Vadim Repin and, not unimportant for us, creator of sometimes unorthodox programs. Liszt or Brahms are possible, but other times he'll spend an entire evening dealing with Medtner, Godowsky or other technically impossible things. One constant: unadulterated talent with a high rock 'n' roll quality. He presents the most beautifully named, most misunderstood cycle in piano literature: 'Ludus tonalis' by Paul Hindemith (1895-1963). 'The tonal play' would not be out of place as our motto, albeit with the emphasis on play. Hindemith conceived this impressive 'The well-tempered Clavier revisited' (see Richard Goode) in the late 1930s. That is to say: the time when he wanted to go through life as a rabid innovator and was called 'Hin damit!' was over. He had once again embraced the tonal system, comparing it to a gravitational field from which escape might be possible, but was not relevant. The result: 'Ludus tonalis', “a collection of contrapuntal, tonal, keyboard-technical exercises” as he himself said. Berezovsky chooses as a counterpart the 'Davidsbündlertänze' by Schumann (1810-1856), named after an imaginary artistic society that wanted to combat the musical philistines - the tasteless, the epigones, the pseudo-creatives.