MASTER PIANIST JURINIĆ PERFORMS MUSICAL MAGIC IN THE GELDROP CASTLE
Pianist Aljoša Jurinić (1989) from Croatia was an audience favourite at the 2016 Queen Elisabeth Competition. There he played in a fine and elegant manner the finale of Chopin's Concerto No. 1. It was a good idea by the Strabrecht Theatre, which often gives upcoming talents a place to perform, to bring this artist in. Yesterday afternoon, Jurinić made a deep impression in the two packed castle rooms with a large number of loyal visitors. He showed with a very ambitious program how not to be a nut-eater, but a "musician pur sang". He presented his formidable technique employed by the composers to whom he could clearly make a commitment. He understood their language and spoke it in a natural and fluid way. Already in the opening measures of Beethoven's beautiful Sonata Op. 27 No. 1 Sonata, he immediately called for a blistering tension. It was a beautiful performance with his expressive, yet sometimes whisper-soft touch and the well-built dynamics. (...)
His brilliant take on Ravel’s “Gaspard de la nuit” was overwhelmingly fantastical and colourful. "Le Gibet", sublime and hallucinatory in atmosphere, became a highlight with the breath. He managed to touch the hearts of his audience with an enchanting and tranquil take on the slow part of Schubert’s Piano Sonata No. 13, D 664. Throughout the Sonata, he encountered a pure and lyrical narrative. He ended with a variety of Études by Chopin, managing to prove that he is a true virtuoso in the way he brought the demanding musical content forward. He successfully accomplished this in almost everything, especially in the mature 7th Étude in Op. 25. In his encore, Debussy's "Rêverie", he managed to evoke an intense intimacy. He said a lot with few notes. In the future, magical master pianist Jurinić will certainly also reach the big stages.
"These interpretations elicit something more than the usual Romantic rubato from Chopin. One listens to a concert by Alyosha Jurinic (Aljoša Jurinić) breathlessly, without fatigue, in constant anticipation, asking what will happen next in this individualistic approach to the canonical opus. His performance is simultaneously contemplative and dynamic, exceptionally disciplined, although there are surprising twists of a nearly rhapsodic character, historically informed but with almost a futuristic perspective of transcendental scope. The interpretation is, on the one hand, artistically rounded and complete, while, on the other, indicates an interpreter who works on himself and whose development will be followed with unabashed interest."
"At the opening of this year's Chopin Fest in the auditorium of the City Hall, the Belgrade public had the opportunity to delight in an exceptional young pianist with a remarkable artistic aura — Alyosha Jurinic (Aljoša Jurinić), and his contemporary treatment of the timeless wonder of the music of Frederic Chopin. His cultivated artistic temperament, meticulously studied repertoire and captivatingly sculpted sound could only amaze. Alyosha Jurinic, a dedicated student of distinguished figures in European piano pedagogy, who has just returned from a performance in New York's Carnegie Hall, shared his erudition with us this evening but also an electrifying performance that will be long remembered."
"Although I was certainly expecting a lush sound and tactile interpretation from Jurinić, his commitment to the integral laws of structure was thrilling, his marked sense of rhythm astonishing and his power of phrasing, ad libitum, left me speechless. Enamored of complex, aesthetically tuned wholes and the most direct possible interpretation thereof, Jurinić has also developed a unique technical discipline, through which he has further approached Hegel's definition of an artist, from whom (only) “free expression of the spirit” is required."
"Then came the Chopin Ballade No 1 the impressiveness of which was clinched by the ensuing Nocturne in D flat thus establishing this young master of the pianissimo, who need not thunder to keep his listeners on the edge of their seats, as a Chopin-player beyond compare."