13/07/2026
New review I just wrote for the Classical Music Guide.
Massimiliano Ferrati - IKIF
28th International Keyboard Institute and Festival
Merkin Hall, New York
July 10th, 2026
Scarlatti: Keyboard Sonata in B Minor, K. 87
Clementi: Piano Sonata in B Minor, Op. 40, No. 2
Schubert: Moments Musicaux, Op. 94, No. 2 in A-Flat Major, D. 780
Moments Musicaux, Op. 94, No. 3 in F Minor, D. 780
Beethoven: Piano Sonata No. 23 in F Minor, Op. 57 "Appassionata"
Mussorgsky: Pictures At an Exhibition
The International Keyboard Institute and Festival, which began this past Tuesday with a recital by its founder, Jerome Rose, concluded this evening with a concert by Martin García García. In between, four other artists performed. Whereas in other years I have attended all, or most of these programs, this year I was only able to hear one, that of Massimiliano Ferrati, who has played many times on this series. An Italian pianist who performs, and teaches all around the world, one can always count on him for a stimulating and intensely musical evening. I have also had the pleasure of interviewing him some years ago, and that interview is now included in my book "Afterthoughts of a Pianist/Teacher - A Collection of Essays and Interviews."
Mr. Ferrati began with a very familiar sonata by Scarlatti in B Minor. He brought out its languid qualities and added some interesting, tasteful ornaments in the repeats. Some people might prefer less rubato than he used but his pacing had a logic of its own. The playing was extremely expressive, as he is particularly aware of interesting modulations and the coloristic possibilities of the piano.
As he often likes to move directly from one work into the next one without stopping for applause if the two are in the same key or if they're in two keys with an interesting harmonic relationship, I was not surprised that, without pause, he immediately began the Clementi sonata. What DID surprise me was that, whereas I had anticipated one B Minor sonata by the Italian-English composer, which used to be in the repertoire of Robert Goldsand, Vladimir Horowitz, and others, this was one of the many other sonatas of that composer which are little-known. Indeed, I had never heard it before, and I would not be hugely surprised if no one else in the audience knew it, either.
This sonata consists of two movements, both of which are divided into sections, each with several tempi. The Adagio at the beginning declaims, rather like a recitativo, then moves - attaca - into a very intense Allegro. The second movement, at the start, sounds plaintive and improvisational, then becomes much faster, with runs all over the instrument. Later the first tempo returns, played very expressively. The sonata concludes with a brilliant Presto.
Mr. Ferrati started the A-Flat Major Moments Musicaux of Schubert at a rather brisk pace, but played the contrasting section in F-Sharp Minor with deep feeling. The quirky F Minor Moments Musicaux was charming and spritely and then, as I suspected he might, he followed the final F Major chord by launching directly into Beethoven's "Appassionata" Sonata, which is also in F Minor.
Listening to this sonata I reflected on different ways we sometimes "receive" a performance from an artist. Sometimes we think about what he (or she) has "done" with a work. But sometimes we think "Yes, that's the way it SHOULD sound!" Which was pretty much my reaction to the Beethoven. The first movement was dramatic and effective. The second movement was not slow, but featured interesting ideas, a nice focus on the left hand melody, and a lovely "flourish" to some of the scales. The last movement was fast, and the coda was VERY fast and exciting!
The second half of the program consisted of Mr. Ferrati's very fine reading of Mussorgsky's Pictures At an Exhibition. The Promenade, which comes back frequently between the other movements, was strong but nuanced the first time around, and the characteristics and variety of mood of the other movements were also brought off very well. Gnomes sounded very mysterious. Tuileries was "fluttery." Bydlo was VERY heavy, by contrast with the scramble in the Ballet of the Unhatched Chicks. The Market at Limoges had much rushing to and fro, by contrast with Catacombs, which was funereal, harsh and bitter. Baba Yaga was fast, intense, and LOUD! And the concluding Great Gate of Kiev featured great power, though the chorale section had a religious feeling.
Though the two encores both happened to be in F Major, Mr. Ferrati did not lead from one right into the other (!). First was the slow movement of Mozart's C Major Sonata, K. 330, courtly and elegant, with the F Minor section hushed. The final encore was Schumann's well-known Traumerei. It was beautiful, lingering, and ended exquisitely.
Donald Isler
