Mathis Cathignol offers a surprise at the Denia International Piano Festival

Despite my attending literally thousands of concerts in the past, each new offering still has the potential to surprise, to go where music has never taken me. The experience does not often do so, despite the fact that it rarely disappoints. Also, approaching a concert that I am responsible for makes me nervous and makes me also less able to relax to absorb whatever is on offer. After organising well over five hundred concerts, it remains the case that each new one is a challenge and that challenge can militate against personal enjoyment. Without the support of skilled people, musicians and technicians alike, the presentation of a concert would be impossible, and I have to record the fact that in Denia last night we had the best of both professions.

A program, however, can create expectations, but in the case of the latest Denia International Piano Festival concert, Mathis Cathignol, a young pianist from France, offered Granados, Fauré and Chopin. One the face of things, this was not going to surprise, but by the end of the concert, Mathis Cathignol had played so elegantly and so poetically that the surprise lasted from the first note to the last.

Mathis Cathignol is a 26 year-old French pianist. Before the concert, he asked whether it was normal or acceptable to have music open on the stage. My reply, as ever, was that he had to decide. I have learned over the years to go with a musician’s flow and not try to impose anything. In the event, he played the Granados and the Fauré from scores, but the Chopin from memory. Eventually, all that matters is the musical communication and more than a hundred people in the audience were left in no doubt about the quality of that.

Mathis Cathignol started his concert with three pieces by Granados. A Frenchman playing Spanish music to an audience in Spain is taking a risk. But Mathis Cathignol’s playing left no one unconvinced of his ability to communicate via this language. The playing, and with it the expression was exquisite. The phrases, even the specifically Spanish in a Spanish idiom, were played beautifully. What’s more, the music made perfect sense. Too often in Granados and other Spanish composers, a pianist can emphasize the stereotype and thereby lose contact with the overall effect. Mathis Cathignol did not fall into this trap and indeed his shaping of Quejas, o la Maja y el Ruiseñor was exceptional. It is a piece that I personally have heard many times, but Mathis Cathignol’s interpretation completely renewed the experience.

I do go to a lot of concerts, and I cannot remember any recent program that included three substantial pieces by Fauré for piano solo. On the face of it, this programming was conventional, but on reflection, I admit that it was something special. For me, Fauré is a quintessentially impressionist composer, and the three nocturnes completely fit the bill. Mathis Cathignol was poetic and expressive, managing to convey subtlety of tone, harmony and shape that sounded truly faithful to the composers intention.

The Chopin that followed was more of a concert piece. But in the hands of Mathis Cathignol, it became more than a series of show off variations and became a rounded, playful examination of what variation form could deliver.

In the end, the young French pianist played Liszt’s Chapelle de Guillaume Tell from the first year of pilgrimage, Années de Pèlerinage I. As an encore, it was a substantial piece and its reception in the hall suggested that the audience wanted even more.

Mathis Cathignol is already an accomplished pianist, whose musical communication is sound. He plays with a lightness of touch which is astounding but can also deliver pace and volume apparently at the same time. He also has the element of surprise which promises greatness.

Programa de mano de 8 oct 2026 - Denia International Piano Festival - Mathis Cathignol

 

Gülsin Onay at the Denia International Piano Festival gives an exquisite performance

 

At 8pm on November 26, 2025 in the Centro Social in Denia, we heard Gülsin Onay play the piano.

Programa 

Johann Sebastian Bach - Partita No. 1 in B flat major, BWV 825

Wolfgang Amadeus Mozart - Sonata in A major, KV331

Ahmed Adnan Saygun - 2 preludes in Aksak rhythm, op.45 nos.4 & 12

Frédéric Chopin - Sonata in B minor, op.58

I am breaking a self-imposed rule not to review concerts that I have been partly responsible for presenting. In the past, there were a lot of opportunities to do so, and I became repetitive. But the reason for this departure from the norm is to pay some homage to the exceptional talent, artistry and musicality of Gülsin Onay, who performed for us last night in the Denia International Piano Festival, courtesy of a group that I assist with, arsaltacultural.com.

On the face of it, the concert did not look like it was to be so memorable an experience. Notwithstanding two short pieces by a contemporary Turkish composer, the program looked rather conventional, a Bach partita, a widely played Mozart sonata and the Op58 Chopin sonata. But appearances can be deceptive. With live music, there is always the possibility that it will surprise and, on this chilly evening in November, there proved to be nothing conventional about the playing of our soloist, Gülsin Onay.

From the moment she started the Bach Partita No1, BWV825, the audience could collectively sense that they were in the presence of a true artist. The touch, the phrasing, and the sheer musicality of the playing immediately communicated that Gülsin Onay was a supreme storyteller. The plot of the musical story was always uppermost in her playing of the Bach Partita, which in other hands can so often seem like a procession of unrelated notes, if played unsympathetically. Here, the shape of the story, the juxtaposition of dances with harmonic and rhythmic complexity was crystal clear, so clear that many people listening were really experiencing the music for the first time, no matter how many times they had heard it before.

The Mozart Sonata, that followed, K331, is also well known. The Alla Turca rondo that forms the finale is recognizable to those who don’t even know the music of Mozart. And in the hands of this Turkish pianist, the concordance of music and performer was perfect. Indeed, the whole piece was couched in remarkably un-Mozart-like emotion. The description only holds for pianists who follow the dots religiously and do not interpret them, and this charge could never be levelled against Gülsin Onay. This is not to say that she took liberties with the score. She didn’t. But she played the everything with the insight of a true musician, a real artist.

A complete change of style was needed from Gülsin Onay for two preludes in Aksak rhythm, op45 nos4 & 12, by Ahmed Adnan Saygun. They were rhythmically interesting, rather percussive pieces, and the ease with which Gülsin Onay made the transition to a different musical world is surely testimony to the quality of her relationship with this composer’s work over the years.

But it was her playing of the Op58 Sonata of Chopin that really convinced this audience of the pianist’s artistry. It should have come as no surprise since the program notes stated that she had been awarded a state medal by Poland for her interpretation of Chopin.

Here was a work that I have heard perhaps thousands of times. On the basis of last night’s performance, however, I did not even know it, because almost every note, every phrase seemed new. It was as if we had Frederick Chopin in the auditorium explaining exactly what each phrase of the Sonata meant. The communication was that direct, and like all good stories, it captivated everyone until the last note. It was a performance of such a virtuosity and artistry that I cannot recall, after 50 years of listening to music, anything that was ever equal to it.

Gülsin Onay received a standing ovation and responded by playing two encores. Ondine from Ravel's Gaspard de la Nuit is a piece that many pianists would prefer not to attempt. In her hands, it was a door to enter the private universe of Maurice Ravel, so perfectly did each phrase fit into the space revealed by Ravel’s imagination. And then the Op9 No2 Nocturne of Chopin brought the evening to a close. Again it was a familiar work, but it is rarely played like this, with communication, not mere beauty of sound uppermost. By the end, I found myself saying that Gülsin Onay was simply one of the finest pianists I had ever heard.

An evening of firsts - Martin García García and Josep Vicent plus ADDA orchestra in Cano, Chopin and Tchaikovsky

In their first concert of a new season, the ADDA Orchestra under the direction of Josep Vicent began with a first performance. Composer Ximo Cano is from nearby La Nucia and his piece Ithaca Overture opened the concert. Ximo Cano’s piece embraces minimalism, but also lyricism and spectacular use of orchestral sound. Basically an overture in the Italian style of fast-slow-fast, it begins with a complex rhythmic figure in the strings which gradually disintegrates into a climax before the central slow section imposes calm on the process. There is extensive use here of the sonorous vibraphone, with the piccolo sustaining some of the higher notes’ overtones. Momentum then reasserts itself, and the piece burns bright until its end. Ximo Cano’s style could be likened to John Adams, but here there is a complexity in this work that comes across paradoxically as simplicity. This world premiere of Ximo Cano’s Ithaca Overture thus presented a perfect opening for a new season, being positive, affirmatory and celebratory.

On seeing the rest of the program, Chopin’s Second Piano Concerto, and Tchaikovsky’s Symphony No. 4, this particular concert goer felt that it might seem like a repetition of works heard hundreds of times before. How wrong can you be? What we heard was both fresh and enlightening. No matter how many times you have heard a piece of music, in performance it always has the potential to surprise anew, and both these works did just that, and to an extent that this listener, with literally thousands of concerts behind him, heard both pieces as if for the first time, so surprising were their effects.

Soloist in the Chopin concerto was Martin García García, a young man still in his 20s from Gijon. To say that his touch was delightful would be to understate the pure artistry he brought to this work. His playing was not only faultless, it reached a level of communication with the audience that one rarely witnesses. Especially in the slow movement, he engendered such a degree of concentration amongst the audience that even the most pianissimo of touches were heard, absorbed within a story that unfolded, told by fingers pressing on keys. This performance rendered a familiar work newly fresh, newly moving and completely satisfying musically. Memorable? Life-changing.

An encore of Tchaikovsky’s October followed. This is Tchaikovsky using understatement, in reflective mode as mists appear and trees colour, and then shed. For the first time I noticed in this piece the main theme of Scriabin’s Prelude And Nocturne For The Left Hand. Another first. I do hope that this first time to hear the playing of Martin García García will not be my last.

And then to Tchaikovsky’s Fourth Symphony. It was for me personally to be the second time in performance in five months. Nothing from the past, however, could have prepared me for the surprise I felt during every moment of this performance by the ADDA Orchestra. Artistic director, Josep Vicent, had the orchestra sculpt literally every phrase. Nuances of feeling, musical details, and indeed overall structures within the work were revealed as if I had never heard the work before, so fresh was the approach, so energised and at the same time subtle was the playing.

Examples could fill a book, but particularly memorable was the way in which the main theme of the slow movement was phrased. It is far too easy, it seems, for an orchestra to rely on the overall beauty of the theme rather than pin down the transitional emotions that make it up. This performance did exactly that. The overall theme still worked fine, but it worked because its individual elements created an emotional journey that was complex and sophisticated, and made perfect sense.

The scherzo, also, provided its surprises. It again is easy to regard the whole movement as a piece of orchestration first and a piece of music second. We all expect to hear the episodic contrast between pizzicato strings, decorating woodwind, and firm brass. What we do not regularly hear in this work of the details that remind us of Slavonic dances, and variations of dynamics in the pizzicato of the strings that add shape and texture. I may have heard hundreds of performances of this work, but this was completely new, as if hearing it for the first time.

As an encore, Josep Vicent offered his audience Guridi’s Amorosa, a simple plea for people everywhere to share love for one another. The overall effect of this concert first was to underline yet again the fact that this ADDA Orchestra, created by the direction of Josep Vicent, is now among the first rank of world ensembles. Bravi!

Congyu Wang - 24 Oct Denia International Piano Festival

 

 

Congyu Wan's playing was explosive and at the same time tender. He has definitely thought about every phrase. But he does not over-shape or over-interpret. The emphasis is where it needs to be, the rubato is applied, but never overdone. The dynamics are wide, but never over-emphasised. He has a tendency with Chopin to slow the piano and accelerate the forte. In concert it works beautifully, but the approach might not get past a nit-picking reviewer on disc.

He chose to play the Chopin Nocturne and the Liszt Liebestraum together, deliberately holding off the applause at the end of the Chopin. The effect was to increase musical tension. The Denia audience was spellbound to silenece anyway! Quite memorable. The Earl Wild arrangement of the Vocalise transforms the melody into what sounds like another prelude to add to the Rachmaninov set. There’s a central section that is explosive. After that the Kreisler Libeslied sounds like a show-off piece, which is what it is, but the Rachmnaninov harmony saves it and, indeed, makes it interesting. The Gershwin preludes again sounded more pianistic than usual. Just a little research shows that Earl Wild reworked seven Gershwin Preludes – the usual performance does the three that Gershwin himself published under the title. These pieces were quite different. Highly pianistic and with recognisable melodies that kept poking through the notes. The overall effect was wonderful and simply put brought the house down.

After that, Congyu Wang then embarked on Gaspard de la Nuit. Now this is a challenge at the best of times. It is virtuosic in a way that perhaps only Ravel could write. It’s a style that is unique. It sounds literally like no-one else. But what demands he makes to mimic simplicity! One feels that Ravel always wanted to simplify, but the way his mind worked was just different from the rest of us. The pianistic elements don’t feel like decoration. They are essential elements in the music’s sense.

Congyu Wang’s playing was breath-taking. The emphasis here was in the contrasts. Slow-fast, quiet-loud, the contrasts seemed emphasised, but never mannered. Add to that the rhythmic tension that is always part of Ravel's thinking and the result is this masterpiece of the concert hall. He had really thought about the overall shape of the piece and that came across with clarity. Just what the rather strange mind of Maurice Ravel had in mind we will never know. What is clear is that the place he lived was not quite in this universe, such a transporting experience does his music offer - and this performance in particular.

And then, at the end of the programme, we heard Aldoraba de Garcioso. This is Ravel in “Spanish” mode and the audience will have been totally familiar with the musical phrases and harmonies that keep surfacing in this consciousness stream that is pure Ravel. The playing was again beyond brilliant, but always sympathetic, never spectacular just for effect. Congyu Wang is a true artist.

There followed three encores. Chopin, Debussy and more Chopin. The audience would have stayed for more, but after a programme like that at least one person involved deserved a rest.