C. Bechstein

On the evening of 30th August 2024, a quiet anticipation filled the Victoria Concert Hall as the audience took their seats, eager to experience the highly anticipated recital by internationally-acclaimed pianist George Harliono. As the lights dimmed, George stepped onto the stage, exuding a warm and humble presence. He expressed heartfelt thanks to the audience before introducing the first piece of the evening: Beethoven’s Sonata Op. 31 No. 2, the “Tempest.”

From the very first notes, it was clear that this would be a performance to remember. George’s control over the pianissimo passages was impeccable, each note delivered with precision and clarity. The sonata’s shifting moods—from stormy turbulence to introspective calm—were rendered with remarkable finesse. His clean, articulate execution, paired with an exquisite C. Bechstein D282 Concert Grand Piano, allowed Beethoven’s tempestuous spirit to sweep through the hall.

The next piece, “The Lark” by Glinka/Balakirev, holds special significance for George, who fondly recalled playing it at his first recital at the tender age of nine. As he began, the audience was transported to a scene at dawn, where the opening lines evoked the gentle songs of birds welcoming the day. The piece gradually unfolded into sonorous, melancholic passages, both virtuosic and tender. The chromatic lines, reminiscent of the sparkling sound of crystal, added complexity and showcased George’s deep connection to this beloved work.

With Balakirev’s “Islamey,” the atmosphere in the hall shifted dramatically. The piece opened with a burst of energy and vibrancy, George’s hands flying across the keys with astounding speed and precision. His spirited performance displayed technical prowess, leaving the audience in awe of his ability to navigate the piece’s demanding passages with such ease and flair.

George then took the audience on a journey back in time with selections from Rameau’s Suite in A Minor. His navigation through the intricate passages was masterful, each note delivered with clarity and attention to detail. “Les tendres plaints” captured the sentimentality of the piece beautifully, while “Les tourbillons” painted a vivid picture of a blustery day. “Les Cyclopes” evoked mythical scenes of stomping giants, and “Les Sauvages” brought a lively, vibrant energy to the program.

As George launched into Schubert’s 3 Klavierstücke, D. 946 – No. 1 in E Flat Minor, he immediately captured the intended textures of the piece, drawing out remarkable contrast and clarity, even from the farthest corners of the hall. The transitions between sections were executed with superb skill, maintaining the audience’s attention and carrying the tension and excitement through to the very end.

Tchaikovsky’s “Dumka” brought a touch of melancholy in the opening passages, which were pensive and reflective. As the piece progressed, this gave way to an exuberant expression, as if embarking on a joyful journey to the countryside. George masterfully painted a vivid picture of rolling hills, majestic grasslands, and open meadows—a testament to his ability to convey complex emotions through music.

The recital reached a dramatic peak with George’s performance of Stravinsky’s Firebird, as transcribed by Guido Agosti. This piece presents a formidable challenge to any pianist, translating Stravinsky’s orchestral genius to the piano with its intricate, nightmarish passages. George met this challenge head-on, capturing pivotal moments with precision. “Danse infernale” was a turbulent, intense portrayal of struggle, while the “Berceuse” lulled the audience with its haunting stillness. The “Finale” burst forth with exuberant energy, and as the final notes faded, the audience erupted into applause.

George returned to the stage for a series of encores, each captivating in its own right. From the tender strains of “The Moon Represents My Heart” to a dynamic, exhilerating rendition of Grieg’s “In the Hall of the Mountain King,” George demonstrated his versatility and deep emotional connection to the music. His heartfelt interpretation of “Bengawan Solo” was enriched with added sonic textures, and the evening concluded with an exquisitely delicate performance of “Can’t Help Falling in Love.” We indeed can’t help but fall in love with George’s immense talent and amiable personality.

Throughout the recital, George Harliono’s performance kept the audience utterly enthralled. His ability to serve the music, allowing its purity to shine through without imposing his will, marks him as one of the finest performers of his generation. In every note, George’s respect for the composers and his passion for the music made this an evening that will be remembered by all who were fortunate enough to be in attendance.

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About the Artist:

Born in 2001 in London, George Harliono began playing the piano at the age of 7 and quickly demonstrated prodigious skill, garnering international acclaim for his exceptional talent at a young age. He gave his first public concert at the age of 9 and, by his early teens, had already performed with major orchestras around the world.

Harliono’s career has been marked by performances at prestigious venues such as the Royal Albert Hall in London, the Berlin Philharmonie, and the Great Hall of the Moscow Conservatory. He has also appeared with renowned orchestras, including the Mariinsky Orchestra under the baton of Valery Gergiev.

In addition to his performance career, Harliono has won numerous awards in international piano competitions, solidifying his reputation as one of the leading pianists of his generation. His playing is often praised for its technical precision, emotional depth, and mature interpretation of the repertoire.

Despite his young age, Harliono has a growing discography and continues to expand his presence on the global stage. He is also known for his engaging personality and dedication to bringing classical music to wider audiences, including through social media and educational outreach.