Victoria Concert Hall, 14 May 2025
Photos by Chen Haotian

14 May 2025 was a balmy day on Alexander Malofeev’s second visit to Singapore (the first being 6 years ago at the age of 19), the kind that makes one wish not to leave the comfort of indoor air conditioning — but what unfolded that evening was anything but languid. Despite a travel ordeal involving a delayed flight and some missing luggage, the young pianist, unfazed, took the stage at Victoria Concert Hall with great composure and delivered a performance that was both commanding and revelatory for a first-time Malofeev listener — full of fresh perspectives and thoughtful interpretations. His carefully curated program blended familiar masterpieces with lesser-known gems, introducing Singapore audiences to repertoire not often heard in recital. It was a diverse and layered program — a testament to Alexander Malofeev’s maturity and artistic curiosity.

Performed on a magnificent C. Bechstein D282, the concert grand’s rich tonal palette and clarity were a perfect match for Malofeev’s expressive touch and dynamic control.

Opening with Schubert’s Drei Klavierstücke, D. 946, Malofeev displayed superb control and refinement from the very first note. His voicing was elegant and assured, the interplay between hands clearly shaped without ever sounding forced. The first piece, in E-flat minor, was energetic yet poised; light right-hand flourishes sparkled against deeper undercurrents. In the second piece, he let the music wander beautifully, capturing Schubert’s trademark lyricism with natural grace — evoking images of a meandering brook flowing through both calm stretches and rugged terrain. The final Allegro was bright and spirited, shifting effortlessly between moments of reverie and dazzling brilliance.

Kabalevsky’s Piano Sonata No. 3 brought a different kind of vibrancy — punchy, rhythmic, and full of character. Malofeev paced it with clarity and purpose, with nary a dull pause. In the second movement, his pianissimos were almost whispered into the hall — intimate, delicate, and deeply affecting. The finale, exuberant and full of mischief, drew out the sonata’s playful spirit while never losing sight of its structure.

The second half opened with In the Mists by Janáček, a set of introspective and elusive pieces rendered with exceptional nuance. Where some performances can leave these works sounding opaque or muddy or static, Malofeev brought out the distinct voices in each hand with remarkable transparency and movement. The music shimmered with subtle shifts in tone and just-right pacing, drawing listeners into its quiet complexities. The C. Bechstein’s responsiveness and signature clarity further elevated these elusive textures.

Liszt’s Funérailles followed without pause — solemn, powerful, and haunting. Even in its most prominent octave passages, Malofeev never lost sight of the piece’s mournful core — creating a balance that reveals not just power (which he possesses in abundance!), but sensitivity and restraint. The result was a performance that captured both the grief and the defiance embedded in Liszt’s music, delivered with remarkable emotional clarity.

He then turned to Scriabin, first with the Four Preludes, Op. 22 — brief but evocative, full of subtle mood changes and inner tensions — before ending the program with the Fantasie in B Minor, a sweeping, rhapsodic piece that demands both finesse and abandon. At times, the transitions from one work to the next happened so fluidly it felt like being swept along by a river of sound — best to simply let go and enjoy the ride!

Malofeev’s mastery was on full display throughout the evening — not just in his sheer technical polish, but in the way each phrase felt intentional and alive. This was a deeply internalized repertoire, interpreted with both precision and passion. His prowess is nothing short of surreal, matched only by the depth of musical intelligence behind it.

And still, he had more to give.

Responding to thunderous applause, Malofeev returned to the stage with three superb encores: Glinka’s La Séparation, Prokofiev’s Toccata, and Glinka’s Mazurka in C Minor. The Prokofiev, in particular, was especially compelling — its relentless drive and unyielding pace met with audible gasps and a roaring ovation.

As quickly as he had arrived, Malofeev was gone — dashing off to catch a late-night flight. But not before taking the time to meet his audience. Despite the tight schedule, he graciously stayed behind after the recital to sign autographs and take photos with everyone who waited. It was a gesture that left a lasting impression, rounding off a night already filled with unforgettable music.

In an age obsessed with technical perfection, it’s rare to encounter such a young pianist who not only commands the instrument with masterful skill, but also radiates warmth, imagination, and emotional maturity. We’ll be sure to follow Alexander Malofeev’s career — and sincerely hope to welcome him back to Singapore again soon.

This event is presented by Bechstein Music World Singapore, and True Music Singapore.

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