Boris Todorov received a Merit result for his Piano Performance Grade 4 exam. He performed pieces by Beethoven, Carroll, Debussy, and Gillock. The examiner praised his musicality and stylistic differentiation between pieces, though noted some brief lapses in accuracy and control at times that impacted his performance. Overall, his technical skills and interpretation of the instrument were effective in meeting the challenges of the repertoire.
Boris Todorov received a Merit result for his Piano Performance Grade 4 exam. He performed pieces by Beethoven, Carroll, Debussy, and Gillock. The examiner praised his musicality and stylistic differentiation between pieces, though noted some brief lapses in accuracy and control at times that impacted his performance. Overall, his technical skills and interpretation of the instrument were effective in meeting the challenges of the repertoire.
Boris Todorov received a Merit result for his Piano Performance Grade 4 exam. He performed pieces by Beethoven, Carroll, Debussy, and Gillock. The examiner praised his musicality and stylistic differentiation between pieces, though noted some brief lapses in accuracy and control at times that impacted his performance. Overall, his technical skills and interpretation of the instrument were effective in meeting the challenges of the repertoire.
Boris Todorov received a Merit result for his Piano Performance Grade 4 exam. He performed pieces by Beethoven, Carroll, Debussy, and Gillock. The examiner praised his musicality and stylistic differentiation between pieces, though noted some brief lapses in accuracy and control at times that impacted his performance. Overall, his technical skills and interpretation of the instrument were effective in meeting the challenges of the repertoire.
Phrases were shaded and well-directed and the tempo was effective. There was just one rhythmic delay in the first section and there was scope for a lighter LH in the middle part. This was otherwise an assured and musically stylish and communicative performance.
W. Carroll: The Reef (No. 5 from In Southern Seas) 24/30
‘Massive’ was captured in the resonant opening tones. A misplaced chord briefly interrupted flow and the overall account needed a more consistent pulse to fully convey the musical story. Nonetheless, the rest of the playing was accurate in pitch and a wide range of dynamic contrasts was deployed.
Claude Debussy: The Little Black Boy 25/30
An arresting and lively opening was apt. The contrasting moods of the music were vividly captured in the tonal colours and changing tempi. There were some lapses in the control of accuracy that briefly affected momentum but characteristic articulation and rhythmic communication were convincing and stylish.
Gillock: Holiday in Paris 25/30
After a false start this was idiomatically shaped and there was a real sense of the musical story throughout the performance where there were two brief lapses in accuracy when errors were corrected. Commitment and involvement were always evident.
Performance as a whole 25/30
Engagement with the performance situation and awareness of the listener was always evident in the pacing and sequencing of this programme. Stylistic differentiation was well- conveyed and control of textures, balance and blending was often demonstrated. A wide range of dynamic contrasts enhanced musical interpretation. The delivery was impacted somewhat by brief lapses in control in some of the pieces but the overall technical challenges of the pieces and management of the instrument were effective and well met.