Kirschnereit demonstrates his versatility.
In rounding up the last piano recitals for the Gilmore Keyboard Festival there was no letdown in the consistently high standards set by the festival.
Starting with Haydn’s Sonata N. 48 in C Major, Kirschnereit immediately exhibited a clean technique. Every note could be heard, even in the ornamentation. For Mendelssohn’s Variations Serieuses in D Minor Op. 54, the pianist brought out the many contrasts in variations, requiring that fluid and light touch so germane to Mendelssohn, while contrasting with a much more dramatic style for others.
Chopin’s Scherzo No. 2 in B Flat Minor, Op. 31, was then performed for the third time this week. To the credit of the artist, Kirschnereit avoided excessive rubatos and played a masterful interpretation.
From the sensuous “Reflets dans L’eau” to the exaggerated drama of “Alla Marcia,” the pianist exhibited a fine style and technique throughout, completely in keeping with the French composer. Ending the recital with Rachmaninov’s “Maestro,”, the young and boyish Kirschnereit revealed the promise of a great future.
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