Endler Concertseries: Nikolaas Kende

The slim, unassuming figure of the pianist emits an almost ethereal aura when he appeared on stage. "Boy in a bubble, I think. And so, when he plays, he might get lost in that bubble. It's just him and his music. When he stopped, I am almost reluctant to slap. Bang break the fragile bubble under the onslaught of disharmonious applause. Nicholas Kende's assessment is light, but seriously. He captivated this listener. His interpretation of Schubert's Piano Sonata in A minor, D537, justice for the alternating passion and lyricism of the sonata. In Liszt's setting of "Three sonnets of Petrarch" resonates the yearning for the unattainable beloved. The pianist manages to make echo and generate something of a recognition dreamy longing and elegiac mood on the one hand, and the ecstasy of love the other, in the listener's mind. The elegiac mood of Liszt is then continued in Chopin's nocturne in C # -mineur. In Alexander Siloti's arrangement of Bach's Prelude in B-minor key he dmonstrates his technical skill. The highlight is one of Beethoven's last compositions for piano, the passionate Piano in C minor, Op 111. The work consists of two contrasting movements: 1. Allegro con brio Maestoso- ed appassionato and 2. arietta -Adagio molto, semplice e cantabile. Kende gives a passionate interpretation of this composition of what is said to be ranging between resistance and surrender, the present and the afterlife, male versus female.