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Kholodenko’s Concert

Reflections on the May 1, 2016 Concert
By Michael Coolen

Vadym Kholodenko in Cliburn finalThe Russian words krika tishina translate, more or less, into “a screaming silence.” I thought of them while waiting for Vadym at the Eugene airport. His desire to address his recent tragedy through his music is a wonderful medicine for him and a gift to his audience members. His playing reflected not only his mastery of the piano, but it gave a clear example of who Vadym Kholodenko is as an artist. His relationship with the Steinway piano in LaSells auditorium began immediately when he sat down to practice. He smiled.

His performances of the Liszt were a revelation to me, since I have long found Liszt difficult to understand. It was a gift I was not expecting. At the first intermission I asked him if the piano was satisfactory, and he responded “a good piano.” The Scriabin Preludes during the second half were beautifully played, often revealing new insights into them. When he finished playing the Scriabin Fantasie at the conclusion of his recital, I almost expected him to stand up and kiss the piano because the two had created such sacred and profound music together.

The encore of the Rachmaninoff arrangement of a Tchaikovsky lullaby left several members in the audience shattered. It was perhaps the most deeply moving COPI concert I have attended. Bravo to Vadym and to COPI. And Bravo to the Corvallis audience who once again elicited this response from Vadym. “It was a good audience,” he said. “They were quiet, respectful and attentive, and I really liked them.”