At Salle Bourgie, a captivating concert was given by the young Dutch pianist Ramon Van Engelenhoven, who took the audience on a journey through a varied program: pieces from the great repertoire, contemporary music, and his own transcriptions of film scores. The idea of presenting in the first person to give a little context to the audience, which was quite large and warm, was also appreciated.
I remember discovering Ramon Van Engelenhoven in 2018, when I found a video of Debussy’s Images I on YouTube. What struck me were the purity of the sound and the elegance of the musical idea; several years later, it is still the structural balance and sonic refinement that appeal to me.
The concert opens with Mozart’s Sonata K330, well thought out and well performed. The control of sound, phrasing, and ornamentation is excellent, with the most intense moments occurring in the second movement. This is followed by Ravel’s Pavane pour une infante défunte, performed with structural clarity and sonic beauty. The concert continues with two pieces by Tagreshi, a young composer and friend of the pianist, which exploit the full range of the instrument, creating an aura of mystery and lyricism.
The second part of the concert opens with Rachmaninoff, with two Preludes from Op. 32 and two from Op. 23, which transport us into enveloping atmospheres and seductive lyricism. Two transcriptions by the pianist close the concert: a Suite from Herrmann’s Vertigo and The “Ride of the Cossacks” from Waxman’s Taras Bulba. And it is precisely in the transcriptions that passion and intensity overwhelm us. The admiring audience is treated to an encore, Poulenc’s Novelette No. 1, which once again showcases Engelenhoven’s sober and measured style. A pianist to watch.
Photo credit: Florence Geneau
