Alexander Malofeev Bruce Liu

L is SZ Concert Hall. Right most, Library. Near Right, Citizen's Center.

Concert Review: Alexander Malofeev and Bruce Liu

I have been attending quite a few concerts, but have been remiss in writing them up. Here is the first one.

October 17, 2023, Shenzhen Concert Hall
Alexander Malofeev Recital
Handel-Purcell-Muffat-Bach-Rachmaninov

The current disgusting persecution of superior Russian musicians knows no end. Russian sensation Alexander Malofeev (official website) is a wunderkind who had just turned 22 years old at the time of concert. His reputation has spread fast and he has played in most of the world’s most prestigious venues. But then the Ukraine War came. In 2022, Vancouver canceled his concert (NPR report) and he had followed up with some eloquent anti-war statements (here). I completely agree with his sentiments. I’m glad here in Shenzhen I get to hear many Russian musicians. Certainly not in NYC. Not in HK either, as they try so ridiculously hard to be an “international” city...

This is a difficult concert to write up, because he played so perfectly! What a full command of the keyboard and great tonal colors! The piano was a rich sounding Yamaha (he’s a Yamaha artist).

As is increasingly popular these days, the first half is devoted to baroque, with transcriptions. Handel’s Suite in B Flat HWV434 was played in a straightforward manner. Then followed the Purcell Ground in Cm. Then came the most unusual piece, and not a short one, Muffat’s Passacaglia in Gm from the austere sounding Apparatus Musico-Organisticus. It intrigued me so much that the next few days I actually listened to some recordings of the magnum opus (on harpsichord and organ). Mind you, all these keyboard works were intended for the harpsichord or organ, and, no matter how refined the touch and articulation of Malofeev, sometimes one would like a little more spicy twang. These were followed by the much more pianistic Bach/Feinberg Organ Concerto No. 2 in Am BWV593, faultlessly rendered.

The second half was substantial, all Rachmaninov. The Etude Tableaux Op 33 and the Sonata No. 2 in B Flat minor, all ravishingly played. I have to say that, in contrast to his orchestral works and concerti, I’m still not completely into the world of Rachmaninov’s solo piano works (even more difficult for me than Schumann). But I have heard enough to say this is among the greatest Rachmaninov playing I’ve heard.

Malofeev had come to SZ before (how I missed it!). In fact he was affectionately nicknamed as 小马哥 (an allusion to the popular ex-president of Taiwan) by the venue staff (I spoke to the friendly, and foxy, venue manager). But he’s still not a big name in these quarters (no solo recording yet), so to speak. And so, attendance was abysmal (maybe 30%). It’s really too bad, Malofeev, like Kissin before him, should have filled any hall in an instance. He does, in certain countries in Europe. But America and their chief fiefs, well...I’m very glad to have heard him. In fact, I’d go hear him play anything!

October 29, 2023, Shenzhen Concert Hall
Bruce Liu Recital
Bach-Chopin-Kasputin-Rameau-Prokofiev

Hard on the heels of Malofeev came Bruce Liu. His instant fame preceded him, aided by DG recordings.

In contrast to Malofeev, this is an easy review to write. First, the piano is a Steinway, and surely more refulgent than the more bronzen Yamaha. Bruce Liu was also much more of a showman than Malofeev, who is mature beyond his age. This was both good and bad.

Liu opened with Bach’s French Suite No. 5, which is on a DG recording. It was decently played, but I found the tone rather unvaried. Chopin’s Piano Sonata No.2 in B Flat minor was quite good, but the tone remained rather one dimensional and it did not sweep me off my feet. A Kasputin piece (Variations for Piano, Op 41) did nothing for me (as usual for this composer).

Second half opened with a full set of familiar Rameau pieces, which Liu had recorded for DG on his album Waves. They were very nice, and lively, and as in the album, I prefer his more expressive way than, say, Alexander Tharaud. Then came the Prokofiev Sonata No. 7, which was delivered with aplomb, but not the last ounce of motoric excitement. Also, I’d have preferred more weight! Also, as in the first half’s Chopin Sonata, it did not seem to build upon itself, which a successful performance must. Throughout, the piano sound was not the best.

Comparisons are cruel. For now, in terms of total command and musicality, I judge Malofeev the better pianist (and would like to hear him in Chopin and Prokofiev) but Bruce Liu should not be brushed over. Let him grow beyond his quick fame! He is of course much more marketable in this Chinese world, and the hall was packed. Not fair, right? Well, a long line formed just to get his signature.