Concert faultlessly delivered entirely from memory

Abhinath Berry. PHOTO: SUPPLIED
Abhinath Berry. PHOTO: SUPPLIED
Virtuoso piano recital
Glenroy Auditorium
Friday, November 17


Immediate standing ovation, prolonged applause and "bravos" were spontaneous reactions in the Glenroy Auditorium on Friday evening as pianist Abhinath Berry released the final chord in a recital of virtuoso concert pianoforte repertoire with his teacher Prof Terence Dennis.

A large audience attended this benefit recital for Berry, an exceptional young musician, totally dedicated to exploring and developing his phenomenal musical talent.

Over the past four years I have heard him in performances at Marama Hall and, along with others, marvelled at his pianoforte proficiency.

Always deeply interpretative, with speed and technical ability of hands, fingers and exemplary use of pedals, faultlessly delivering at break-neck speed, with expression and stylistic gilding paramount.

Such was the case on Friday evening and an added bonus was to hear the beauty of tone and resonance of the Glenroy Steinway.

Three Chopin works began the programme — Nocturne in C minor Op.48 No.1Ballade No.1 in G Minor Op.23 and Scherzo No.3 in C sharp Minor Op.39.

All were lovingly accorded stylistic romantic delivery, always with lyrical emphasis, mesmerising returning of subjects, and all from memory as indeed was Berry’s entire two-hour programme.

Ravel’s Gaspard de la Nuit, a three-movement fantasie crammed with technical challenges and profound musical structure, depicted everything from shimmering reflections and torrential waterfalls to sad dissonance and nightmares.

Berry’s interpretation was brilliant.

Prof Dennis, who has given just four years’ tuition to this self-taught musical genius, joined his prodigy for a riveting delivery of Ravel’s Rapsodie Espagnole for 4 Hands.

Berry then continued with Four Concert Etudes(1969) by Rautavaara — neo-romantic dissonant workouts of fiendishly demanding character.

The immense challenge of Liszt’s pianoforte reduction of Wagner’s Tannhauser-Ouverture was Berry’s final contribution, as a spellbound audience witnessed torrents of octaves and massive chords enveloping well-known operatic melodies.

Best wishes go to Berry as he leaves to further develop his music abroad.