Brilliant playing.. gratifying freshness.. Nahkur plays with impressive ease, remarkable clarity and incendiary energy.. Mephisto Waltz has another reincarnation with pianist Hando Nahkur.
Nahkur’s playing was crystal clear, intricate and ornate at times, but never overly busy. Nahkur knows instinctively just where all the notes belong.
Hando’s fingers blurred as he flew through difficult passages full of ever developing scales, arpeggios and motivic elements.. His presentation was so natural and effortless, it was hypnotic to behold.
Nahkur is a musician whose performances are loved by the critics.
Great virtuosity and interpretative maturity.. From Beethoven to Pärt, going through Liszt and Balakirev.. Hando Nahkur has an amazing pianistic maturity.. The audience that came to the theater were amazed by his talent from the very first measures he played.. His forte made the piano tremble, his pianissimo came as a musical caress.
His program was combined of deep musical thinking, mastery of the form and effective appropriation of literary suggestions and folklore.
He captivated the female audience with his talent and stage presence.. Nahkur knows how to establish a very special connection with his audience.
The pianist Hando Nahkur and his second CD DeusExClavier are a marvelous discovery! Where to begin with hymns of praise? With the intelligent selection of the works themselves? With the carefully conceived interpretations of the individual pieces which, despite the recognizability of Nahkur’s seductive, slightly silvery tone, are never measured by the same yardstick?Nahkur plays Erkki-Sven Tüür’s sonata both lucidly and passionately; with absolute brilliance, he draws forth the dynamic pulse and subtle structure of this fascinating music. The “official” culmination of the record is Schumann’s Symphonic Etudes op. 13, in an interpretation which rightfully can hold its own even against the legendary versions by Wilhelm Kempff or Martha Argerich.
Chaconne’i esituse lähtepunkt on küll akadeemiline, kuid teostus küllaltki vabameelne. See seisneb eeskätt suhtumises liikumisse ja ka toonikäsitlusse, mis ei keela lahtiütlemist rangest struktuurist. Üks asi on Bachi „Chaconne” viiulile, selle seade klaverile aga hoopis teine olukord. Seadega on heidetud uus valguskiir erinevatele variatsioonidele, lubades inspireerivaid lahendusi. Teose monumentaalsus, kujundite kontrastsus ja pianistlik nõudlikkus vajab hästi kujunenud muusikalist arusaamist, arengulist tervikuspüsimist ning mitmekülgset klaverivaldamist. Selles osas on esitus kõrgel tasemel, avaldades mõju oma sihipäraste kavatsuste ja pinget loova kujundusega. Erkki-Sven Tüüri Klaverisonaat (1985) on veenvalt ja meeldejäävalt mängitud. Kolmeosalise sonaadi igal osal on oma iseloomulik nägu ja selge dramaatiline arendus. Esitusest kostub tugev isiklik suundumus ja osav klaverimängimine. Schuberti Impromptu Ges-duur op. 90 nr. 3 asub plaadi terviku seisukohalt väga õiges paigas. Schumanni „Sümfoonilised etüüdid” op.13 on Nahkuril orkestraalselt lahendatud. Käsitluses kasutatakse kompaktseid värve ja ilmutatakse laia haaret, õigustades sellega nimetust „sümfoonilised”. Etüüdidest on Nahkuril hästi õnnestunud otsustavamad ja ägedaloomulisemad karakterid, eriti 7. ja 10. etüüd ja 1. lisa, rääkimata 12. etüüdist, mis on võimsas progressioonis kuni viimase akordini. Eriti hästi mõjuvad selle peateema erinevas valguses ja gradatsioonis kordumised. Kogumulje jääb ikkagi soliidne, prevaleerib suurejoonelisus, tehniline üleolek, omanäoline lähenemine ja enesekindlus, mis tundubki olevat Hando Nahkuri pianistinatuuri iseloomulikumaid jooni.
Hando Nahkur released recently his new CD DeusExClavier under the ERP record label. The program is a balanced mix of classical, romantic and modern genres. It calls for virtuoso technique as well as interpretative skills – both of which are evident in Hando Nahkur’s playing. Bach’s “Chaconne” was originally written for the solo violin(part of his Partita No.2). It is considered one of the pinnacles of violin literature. The renowned pianist Busoni(1866-1924) arranged it for piano in 1893. Compared to the violin version, the keyboard transcription offers enhanced dynamics through the use of powerful chords and passages. Thus, as is the case with such transcriptions, we have a new work of art that combines the ideas of the composer as well as those of the transcriber. Mr. Nahkur’s interpretation of this monumental piece is outstanding technically and musically. The Sonata for Piano by the Estonian composer Erkki-Sven Tüür(born 1959) is unique in that it is the only work of that genre among his many compositions. Let me quote the Estonian musicologist Merike Vaitmaa here: “Composer’s way of composing for piano brings forth in the first place the bell-like qualities of the instrument’s sound… One untraditional feature is present: the pedaling – of very long duration at times – (which) creates elaborate sound complexes…” Hando Nahkur plays the complicated work with clarity and sensitivity. The iridescent interludes that conclude the first movement and open the third are of particular beauty. The Impromptu in G flat Major, Op 90 No. 3, by Schubert forms a lyrical counterpart to the contemporary sounds of Tüür. This lovely piano piece is played by Nahkur with tenderness and beautiful phrasing. The Symphonic Etudes, Op. 13, is one of Schumann’s (1810-1856) early works (1834-37), and forms the highlight of this CD. It consists of a theme, followed by twelve etudes and two posthumous variations. Hando Nahkur’s playing clearly elucidates the character of each etude/variation.