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Christopher Halls

Siberian-born pianist Pavel Kolesnikov is known to have a surprise or two up his sleeve.
To highlight the “outrageous” side of Mozart’s music on February 19 in his Hong Kong City Hall recital, he chose to sport a supremely unflattering, baggy frog-green suit.
While it was an odd choice – although one best left to the fashion writers – his imaginative and thought-provoking juxtaposition of works by Mozart and Ravel was an eye-opener of far greater substance.
Just as eye-opening was Kolesnikov’s reading on February 22 at the same venue of the solo part in Beethoven’s Piano Concerto No. 4 in G with the Hong Kong Sinfonietta under its music director, Christoph Poppen.
His performance was full of musical insights, the playing both fluid and tender in a work that is a shining gem of the concerto repertoire.
Sadly, and through no fault of his own, it was the piano itself that caused blemishes in an otherwise fine interpretation.

A few stuck keys in the Steinway’s mid-to-high register not only affected Kolesnikov’s passagework in the opening Allegro moderato and his imaginative solo cadenza; the odd clunky sound caused when his fingers struck the affected keys was hard to ignore.
Thankfully, Beethoven’s brief slow movement, marked Andante con moto – an ingenious and poetic interlude – survived the technical malfunction largely unscathed, the pianist producing captivating playing of dreamlike simplicity which the Sinfonietta strings punctuated with poignant interjections.
Parts of the Rondo: Vivace finale were marred, but Kolesnikov remained stoic and his playing edgy, with the orchestra under Poppen producing a buoyant accompaniment.
Not to be outdone by the Hong Kong Philharmonic Orchestra’s programme the previous weekend, which featured a new work by Raymond Yiu, the Sinfonietta opened its concert with the world premiere of a work by a Hong Kong-born composer.
In Hui Tak-cheung’s Remains, for those Remain, which the orchestra commissioned, listeners were confronted with a complex soundscape of fluid tonalities. The work, Hui said in his programme notes, depicts “what lingers after time has smoothed the edges, after echoes fade and silence settles in”.

The piece is an extension of recordings Hui made at archaeological sites, and featured fascinating sounds, some eerie and some, like the singing bowls, strangely soothing. The orchestra’s execution of string flutters and oscillating glissandos was convincing.
The evening’s crowning glory was a thoroughly compact and joyous account of Schumann’s “Rhenish” Symphony No. 3 in E flat, Op. 97.
Poppen and the orchestra struck an ideal balance between the overt expressiveness – and occasional excess – of late Romanticism and the lighter, more transparent sound that Schumann requires.
Clarity clearly triumphed over heaviness here in the outer movements, both marked lebhaft (lively), which featured shining fanfares from the horns and some thrilling thematic development.
Poppen spurred the players to maintain a jauntiness in the ebb and flow of Schumann’s Scherzo. A chugging pulse from the cellos and double basses added to its Ländler-like, rustic dance feel.

Of the relatively straightforward markings of his symphonies, the composer once said: “We must not show our heart to the world: a general impression of a work of art is better; at least, no preposterous comparisons can then be made.”
In that spirit, the Sinfonietta found their own calm repose in the middle movement, marked simply nicht schnell (not quick). Stylistically they hit the mark, even if the upper strings sounded a bit wooden in places and showed less flexibility than earlier.
The solemn fourth movement – said to depict the grandeur of the Gothic cathedral in Cologne, Germany, and perhaps a cardinal’s ordination there – was taken rather slowly but shaped expertly by Poppen.
The success of this rendition was reflected in the abundance of joy they injected into their playing and the smiles exchanged between the players.
The exuberant and breezy finale that capped things off showed the Hong Kong Sinfonietta’s musical development has taken a notable leap.
“Hong Kong Sinfonietta–Great Piano Concertos: Pavel Kolesnikov Plays Beethoven”, 53rd Hong Kong Arts Festival, Concert Hall, Hong Kong City Hall. Reviewed: February 22.


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Pavel Kolesnikov performs Beethoven’s Piano Concerto No 4 with the Hong Kong Sinfonietta at Hong Kong City Hall on February 22, 2025. The concert was part of the 53rd Hong Kong Arts Festival. Photo: HK Sinfonietta

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Music director Christoph Poppen conducted the Hong Kong Sinfonietta in a Hong Kong Arts Festival concert that included a world premiere. Photo: HK Sinfonietta

Christoph Poppen conducting the Hong Kong Sinfonietta on February 22. Their performance of Schumann’s “Rhenish” Symphony showed how much the orchestra has developed musically. Photo: HK Sinfonietta

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Soloist finds musical insights in Beethoven’s Piano Concerto No 4, while orchestra shows its growth in Schumann’s ‘Rhenish’ Symphony


Soloist finds musical insights in Beethoven’s Piano Concerto No 4, while orchestra shows its growth in Schumann’s ‘Rhenish’ Symphony.


Hong Kong Arts Festival

Classical music

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.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}Soloist finds musical insights in Beethoven’s Piano Concerto No 4, while orchestra shows its growth in Schumann’s ‘Rhenish’ Symphony

Soloist finds musical insights in Beethoven’s Piano Concerto No 4, while orchestra shows its growth in Schumann’s ‘Rhenish’ Symphony