Then Alexander reached the middle of the piece and, like a throat clearing, the music changed. He allowed a sudden, slow cluster of notes—unexpected, almost clumsy—to hang, and in that breath something else entered the hall: the seamstress’s laugh, the boy’s paper boats, the smell of coal. It was as if every small life he had touched had gathered in the auditorium and listened. The applause at the end came not as a single storm but as a ripple, soft hands unspooling into an ocean.
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“Many pianists play the notes,” wrote Gramophone after his 2018 Wigmore Hall debut. “Doronin plays the silence between them.” Then Alexander reached the middle of the piece
– Tend toward the moderate. His Schubert D.960 opens at a deliberate ♩= 54 (molto moderato), allowing each modulation to resonate. Compare to Richter’s tense urgency or Brendel’s buoyancy; Doronin occupies a middle ground that some critics have called “noble but earthbound.” The applause at the end came not as
Moscow Piano Open (2019) and RCM Concerto Competition (2022). Top Prizes: