Sound arts exploration through Jean-Baptiste Fonlupt's perspective

Rewritten Article:

Jean-Baptiste Fonlupt, the lively French pianist, blew our minds with his performance at Bourgie Hall in Quebec on Wednesday night. The program included Rachmaninov's Preludes op. 23, which he'll be recording next week – a thrilling prospect! Although his technique wasn't flawless, Fonlupt masterfully crafted an enchanting art of sound that swept us away to a bygone era. The performance peaked in Brahms, reaching absolute magic that sent chills down our spines.

Interestingly, this year's most contrasting recitals featured the very same work: Rachmaninov's Preludes opus 23. Reflecting on Jaeden Izik-Dzurko's concert on March 30 at the Pierre-Mercure Hall, we marveled at the significant uptick in the "purely pianistic quality" compared to past recitals by renowned artists like Rudolf Serkin, Wilhelm Kempff, Sviatoslav Richter, and Emil Gilels we had the privilege of witnessing in our youth.

What Makes the Art of Piano Playing Exceptional?

We commented, "Forty or fifty years ago... there was perfection in recording on one hand and the concert experience on the other, where one couldn't 'demand the impossible.' A concert like Jaeden Izik-Dzurko's is almost 'supernaturally flawless.'" However, we lamented that the transitions in Chopin's 3rd Sonata and the haunting shadows in Rachmaninov were missing, as the performance felt too polished, smooth, and predictable.

This raises an intriguing question: What is the essence of piano playing? We bring up Izik-Dzurko here because Fonlupt stands at the opposite end of the spectrum. Sure, there are the occasional incorrect notes and occasional stumbles, and yes, there's a difference between a recording and a live event, including the element of risk and danger. However, the rewards are significant, making it easier to label it "the art of piano playing."

Artistry transcends the mere act of pressing the correct keys at the right speed and intensity. And guess what? We're all part of the equation, as the answer to this question will differ for each person. What do we yearn for in a concert: meticulously programmed repetition akin to a recording, or an emotionally and physically captivating human experience, even if marred by "imperfections"? For us, the answer is clear. The physical impact and fantastical journey conjured by Jean-Baptiste Fonlupt's electronic symphony can only be experienced live and will linger with us for quite a while.

Want to know more? Here's a closer look at Francine Kay's captivating pianistic artistry and what makes Jean-Baptiste Fonlupt's performance so exceptional.

Francine Kay: A Kaleidoscope of Colors and Sounds

Francine Kay's fantastic artistry surpassed every performance we heard this year with its vibrant array of notes and emotions. Fonlupt's art is distinct but equally rare at his level. Rather than focusing on the sheer energy of the notes, Fonlupt demonstrates an art of sound production, similar to Claudio Arrau or Jorge Bolet. There's power in Fonlupt's performance, but it's not as vertical or intense as that of Boris Berezovsky or Yefin Bronfman. Sergei Babayan comes closer, but Fonlupt offers a unique level of reflection, experimentation, and harmonious layering of sound, particularly in managing the persistence of the bass, which is his signature move. Think of this Grieg piece: In the Hall of the Mountain King. Fonlupt's artistry holds an element of mystery evoking the size of a cavern and its inhabitant (was it an ogre?).

In short, if you're looking to witness a pianist who "touches and produces sound," you need to catch a performance by Jean-Baptiste Fonlupt: he's a powerhouse of resonance and innovative pedal usage that we haven't experienced since prehistoric times. The slow movement of Brahms' 3rd Sonata was the highlight of the evening, as everything clicked perfectly. Fonlupt also excelled in meditative moments throughout the night, especially in Rachmaninov's Preludes n 4 and 10.

However, Fonlupt started the concert with a nervous pianist, as if the performance were a significant challenge. The interpretation of Bach/Busoni, played with Fonlupt's unique sound, already conveyed personality but lacked confidence during complex transitions. There were occasional moments of digital tension, like in the 3rd movement of Brahms' Sonata, where the serenity of the 2nd movement (extended by an incredible Opus 118 n 2 in encore) was abruptly replaced by an uncomfortably swift scherzo.

Unlike Izik-Dzurko, Fonlupt prioritized the atmosphere over the technical execution of Rachmaninov. His artistic visionSkip to content avoids any rigid verticality. The popular Op. 23 n 2 and 5 rushed straight ahead with greater horizontality and more internal agitation (or urgency) than we're accustomed to. Fonlupt accentuates resonances, tumults, and central passages, smoothed like transitions by others. The difficult n 9 is played like a haunted chase rather than an exercise.

Overall, Jean-Baptiste Fonlupt is a generous and uncompromising artist with a personal and emotional connection to his music. We believe he deserves wider recognition. Perhaps his second recital in more familiar surroundings will be even more powerful.

Want a fresh perspective on this intriguing comparison of artistic and mechanical piano playing? Check out this article on the science behind piano dynamics and listen to a podcast discussing the topic. With the growing advancement in piano technology, it's an exciting time to explore this centuries-old instrument and the magical performances it continues to inspire.

The art of piano playing is rare at Jean-Baptiste Fonlupt's level, as he demonstrates an art of sound production, similar to Claudio Arrau or Jorge Bolet.
Contrasting Jaeden Izik-Dzurko's concert, Francine Kay's performance surpassed every recital this year with its vibrant array of notes and emotions.
The performance by Jean-Baptiste Fonlupt at Bourgie Hall was entertaining, as his artistry in managing the persistence of the bass, his unique use of pedal, and his powerful resonance created an enchanting and unforgettable experience.
Despite a few mistakes and nervous moments in Fonlupt's performance, the slow movement of Brahms' third sonata and the meditative moments throughout the night, especially in Rachmaninov's preludes, were magnified and brought to life, painting a vivid picture that was captivating and mesmerizing.