25.08.2017 | NIKITA MNDOYANTS’ new CD. Stunning review from Gramophone magazine

Nikita newsBEETHOVEN Bagatelles Op 126
SCHUMANN Davidsbündlertänze
Author: Patrick Rucker

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Winner of the 2016 Cleveland and 2007 Paderewski Competitions, as well as a finalist in the 2013 Cliburn, the Russian pianist Nikita Mndoyants would seem to be well on his way to an international career. He is also an accomplished composer who, at the age of 27, teaches orchestration at the Moscow Conservatory. His new release on the Steinway label shows him to be an excellent pianist as well as a wise and thoughtful musician.

Beethoven’s Op 126 Bagatelles seem not so much interpreted as realised. Each small-scale structure is delivered intact, their straightforward expressive gestures immaculately tailored. Individually and as a set, it is as though we are overhearing an improvisation.

Despite the communicative urgency maintained throughout the Davidsbündlertänze, they unfold with an air of unrushed inevitability. Schumann’s wit and mercurial playfulness, whether manifest in rhythmic emphases, melodic contours or voice-leading, are relished without ostentation. Pensiveness and longing are sensitively portrayed with a chaste rubato, coupled with abstemious pedalling. For all its earnestness, Mndoyants’s reading is refreshingly unaffected, bracingly masculine, spontaneous and willing on occasion to speak ardently of love.

Sarcasms fairly bursts with rhythmic vitality, punctuated with oases of wanton languor or stubborn insistence. Prokofiev’s bristling, in-your-face impudence is aptly captured, but in a surprising way: Mndoyants draws from his stylistic arsenal resources of touch and dynamic variety held in reserve in his Beethoven and Schumann. As he nonchalantly peels Prokofiev’s hard-boiled egg, we’re treated to flavours and textures within that are often overlooked.

One risk of programmes consisting entirely of miniatures is that they can leave listeners feeling stinted, desiring the more extended involvement of a variation set or sonata. Happily, Mndoyants is able to achieve a genuine balance of form and content, his interpretations informed, one feels, by his composer’s ear. His carefully wrought miniatures combine the clarity and immediacy of a snapshot with an aphoristic succinctness. The result is an appealing musical experience that both nourishes and satisfies.


15.11.2014 | DINARA KLINTON Performance Review

DIt was one of the most beautiful performances of Schubert Impromptus I have ever heard. The four impromptus, each with distinctive elements and characters, were performed with such precision and care. Pianist Dinara Klinton had an inner voice which came from deep within.

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The moment the first powerful G octaves of the Impromptu No. 1 were played, her stories and hidden emotions unfolded and overflowed. From then, for the next half hour, I was captured by its beauty and sensitivity. The No. 2 Impromptu brought a complete mood change, and I really loved how sweetly and dreamily the opening melody was played. These triplets were absolutely even, and the subtle keyboard touch producing amazing clarity – very pleasing! The third Impromptu, in G flat major, was outstandingly lyrical. The long melodic lines were voiced flawlessly with the broken triad accompaniment. In the final Impromptu the repeated theme of cascading arpeggios was played each time slightly differently and thoughtfully developed. Throughout, she kept good tempos and showed great command of control.
Two pieces by Mendelssohn followed. Rondo Capriccioso started off with a slow, sentimental movement that invoked an atmosphere fairly like singing. Then quickly, the piece developed into a quick section; there were plenty of dialogues conversing and the mood was fresh, joyful and really lovely. Only lasting six minutes, it was brilliantly presented and showed Dinara’s excellent interpreting ability.
Then Wedding March went down a storm. This piece was transcribed by Liszt and then arranged by Horowitz and is notoriously technically demanding. Dinara not only impressed the audience with her dazzling technical ability, but never forgot the voicing and phrasing that tends to be hidden and overpowered by these powerful passages.
Two encores – Tchaikovsky’s Nocturne and Chopin’s Mazurka – were magical.
I first met Dinara at St James Church in Piccadilly in February this year when she performed Chopin Etudes Op 25. These revolutionary pieces are challenging and evocative, and cannot be described as merely ‘studies’. All are technical, some more lyrical and poetic, but one needs to satisfy every aspect of technical and artistic forms to perform them well. I felt Dinara had met both criteria; she had control, stamina, power, and was so artistic. Hence, I engaged her to perform at Breinton. And I was right. She brought and executed the programme everyone loved, and was excellently received by our audience.
Both the Chopin and Schubert works played this evening were perfect with our piano and could not be better in our intimate environment. Several people complimented on the piano, which has just been fully serviced by piano technician Clive Ackroyd.
Chopin Etudes Op. 25
Schubert Impromptus, D 899, Op. 90
Mendelssohn Rondo Capriccioso, Op. 14
Mendelssohn Wedding March (arranged by Liszt and Horowitz

14.10.2013 | Royal College of Music Piano Recital with Dinara Klinton

dinara smallUkranian-born Dinara Klinton is currently studying for a Master of Performance degree at the Royal College of Music, with an ABRSM Scholarship. She studied for her Diploma with honors at the Moscow State conservatory with Eliso Virsaladze, and was taught by Valery Pyasetsky at the Central Music School of the Conservatory.

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Dinara has been successful in numerous competitions, including first prize for the International Seiler Piano Competition, second prize for Tchaikovsky International Competition for young musicians and, most recently,
the Sheepdrove Piano Competition. She also received the Diploma of Outstanding Merit at the Hamamatsu International Piano Competition.
Dinara has appeared at festivals and given solo recitals across the world and has worked with orchestras such as Musica Viva with Alexander Rudin, Orchestra del Roma e del Lazio with Moshe Atzmon, and The Moscow Virtuosi with Vladimir Spivakov. Dinara made her debut recording at the age of sixteen with Delos Records, and the album Music of Chopin and Liszt.
At Chapel of the Ascension, University of Chichester, Chichester on Mon 14 October 2013
Doors Open at 6.00PM
Starts at 6.30PM
Ticket Price: Ј0.00 – Ј5.00