Siberian-born Pavel Kolesnikov soared into view after winning the Honens piano competition in 2012 in his early 20s. More than a decade later, he has established a mix of standard concerto performances with idiosyncratic, smaller-scale projects: a choreographic collaboration, chamber-music partnerships and imaginatively off-piste recital programming.
For his latest Wigmore Hall appearance, bookending 18th-century French keyboard music with Chopin, Kolesnikov sloped on to the stage largely hidden behind his own hair. He sat abruptly but caressed the opening of Chopin’s Waltz in C sharp minor Op 62 No 2 as if he’d been at the keyboard for hours, his touch cashmere-soft, the sound almost outrageously intimate. Movements from a suite by the long-forgotten French composer Jacques Duphly followed without a break. Kolesnikov emphasised the contrasts – between spare, crisply articulated contrapuntal meandering and flurries of liquid passagework, the harsh and the barely audible – as if the five movements were a single fantasia composed in Chopin’s era, not Duphly’s.
