Yefim Bronfman was announced as the soloist of Brahms’ Second Piano Concerto. He withdrew, so Vadym Kholodenko (born in Kiev in 1986) stepped in. He was introduced in the programme as one of the most technically brilliant pianists of his generation. After this celebrated performance, one can only agree with that.
Kholodenko defied the immense manual challenges of the concerto with playful ease, and always relied on the highest level of transparency. His primary interest was not in the breadth of melodic invention, but in the many details that he vividly highlighted – accompanied by unexpected, idiosyncratic changes in tempo and unorthodox phrasing. On the one hand extremely powerful playing, whilst on the other imbued with every degree of subtle piano shades – both of which are readily available to this winner of the Van Cliburn Competition (2013).”
“In Handel, Kholodenko evoked varied expression with a masterful control that encompassed crisp refined rolls and florid ornamentations. His approach to dynamics was period-influenced, and his touch was in fact so refined that the piano seemed to more resemble the timbre of a harpsichord.”
“Kholodenko’s playing is extraordinarily effective, with crisp articulation, a rigorous dynamic palette, and phrasing that prioritises larger musical ideas.”
“Ground-cleaving dynamic power and scorching virtuosity”
“Remarkable articulation, coupled with a lyrical expressiveness that is vibrant yet tender, imbuing Beethoven with both beauty and grace.”
“In Liszt, Kholodenko found his inner demon and was formidable in continuously heightening the tension. The rumbling descent down the keyboard induced shivers, while the moments of more quiet reflection in the music only offered brief calm before the pyrotechnics of Liszt’s score once again exploded. A dramatic and rewarding performance.”
“Vadym Kholodenko barely broke a sweat under the heavy demands of Rachmaninov’s Fourth Piano Concerto. His fingers, hands, arms, and body were loose, ready to engage with every swerve and acceleration in the music. His technique was clean and impeccable but never cold or precise. Rather it had a warm and easy feeling, reactive. Keep an eye out for this pianist!”
“Kholodenko cast a new light on Prokofiev’s Third Piano Concerto – delicately precise, rather than savage. The Finale still had bite, but it was a Siamese cat’s needle-sharp nip rather than a bear’s giant chomp. This was all to the good: he revealed a poised, almost neo-classical side to the piece, which normally stays hidden.”
“Playing that pulls no punches: Kholodenko is in the elite of classical pianists”
“Kholodenko demonstrates an iron-clad technique, capable of moments of crystalline delicacy”
“A passionate musician with an inherent muscularity and weight to his touch, Kholodenko plays with great colour, poetry, and verve.”
“Thoughtful and expressive, Kholodenko finds a gentleness that is very appealing”
“Carefully contoured and impactful”
“Magnificent polish and beauty”
“Technically phenomenal”
“A deep connection to the music, Kholodenko plays with conviction and purpose, with a delicate and wistful side to his artistry that is utterly charming.”
“A musician of gigantic technical accomplishment and generous poetic gifts”
“Kholodenko discovers each new note and idea, with every moment full of surprise whilst fulfilling the complex logic of late Beethoven. Pianist and composer sounded as one, with the performance closer to an experience of absolute improvisation than one will ever find in the classical repertoire.”
“A powerful sound and fearsomely accurate fingers, bringing an unexpected touch of soulfulness to the music”
“Vadym Kholodenko unleashes limitless virtuosity”
“The heir to the great pianists of the Soviet School”