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OREGON CHAPTER OF THE AMERICAN LISZT SOCIETY
Maria Dossin
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“Alexandre
Dossin is an accomplished musician and a wonderful pianist. I had
the opportunity to hear him play solo, chamber music and
concertos. His performances are magnificent, with very pure
musical insight and an extreme sensitivity, together with real
virtuosity and a very personal way of unfolding interesting ideas.
The feeling that there is always more coming makes his
performances a very strong experience.” Martha
Argerich, 09.13.03 “Dear
Alexandre: I believe that you are a very complete musician; you
have intelligence and an exquisite sensibility, enormous reserves
and of course a brilliant pianism, always in the service of music.
I was enchanted with your playing.” Dedicatory
words written by Martha Argerich on the competition poster. “ (…) a magnificent
program (…) He is a pianist with extremely high potential
capability. His performance of Apres une lecture du Dante was of
very stable structure while aiming at various colorful senses, and
it was sharply outlined, always showing the direction. Contrasting
passages were well defined - transparent touches against chaos of
hell, and chords full of heavy weight against light, lively
motions. Furthermore, the way of talking shown at the paraphrases
was very interesting; the brilliantly changing description of
scenes was outstanding, and the inherent frankness resulted in a
poetic drama. I am very much looking forward to listening to him
again.” Musica
Nova (Japan), August 05, p. 92 “He showed his strong
persuasive capabilities in each work by creating fine sentiments
based on his convincing techniques and sensitive musicality.” Ongaku-no-tomo
(Japan), August 05 "If you like the piano as a vehicle for melodious modern romanticism you should hear Krieger’s beautiful sonatas and his captivating sonatina, especially in the first-class presentation they’re accorded here. Alexandre Dossin plays with an astute balance of excitement, technical finesse, and fluid expressivity; The recording is close to ideal—rich but clear, truthful, and immediate." Mark Lehman, American Record Guide, November/December 2005 “(…) he seems to play
it [Krieger’s music] with both devotion and delight; Krieger, at
least, has lavished praise upon these performances, and I hear no
reason to dispute the composer’s seal of approval.” Fanfare Magazine,
October/November 2005 My Dear Alexandre, I heard with utmost attention your CD of my piano works. I was really happy and filled with emotion, touched by your exuberant musicality and the technical perfection of your performance. It is a privilege for a composer to hear his works performed–and recorded–with such a level of technical excellence and musical quality. You really penetrate into the depth of musical meaning and into the expressiveness of each phrase, each motive, each sound; this is what makes music alive, breathing. These works are from different periods, styles and compositional languages, but nevertheless achieve a wonderful musical continuity through your excellent interpretation. At the same time you enhance their unique characteristics and the Brazilian qualities they present. Congratulations and thank you. This is certainly an anthological CD that will enrich my discography, especially with the world-premiere recording of the Estudos Intervalares and the waltz Nina. Sincerely yours, Edino Edino Krieger, January 2005
"This is a
real potpourri of a recital. Unless you are a particular fan of
the artist and want a remembrance, it is doubtful that your
attention would be drawn to the CD while browsing (if you could
ever find it). Most ARG [American Record Guide] readers will
already have all of these works in their collection. So, does
Dossin warrant purchase? The answer has to be a resounding
“yes.” Although the notes have no information on the works
played, we are told that the pianist is Brazilian, has won many
awards and is a faculty member in the School of Music at the
University of Louisiana at Lafayette. There is no denying that he
has the dexterity and musical skills to bring this diverse
collection off. He also eschews showiness and emphasizes
refinement in all of these works. Nowhere is this better
illustrated than in the Dante Sonata, where all the
ferocious difficulties are conquered without compromising musical
values. Dossin’s Chopin is a model of how to avoid
eccentricities and let the music speak for itself. This kind of
no-nonsense playing may have limited appeal for some people, but
the ability to impress without clobbering you over the head
carries its own rewards. It is doubtful if listeners will be able
to resist once they have listened." Alan
Becker, American Record Guide, January/February 2004, vol. 67, no.
1, p. 219
“He
demonstrated [in the performance of Schumann’s a minor Piano
Concerto] not only musicality and technical command of the
instrument, but also a true understanding of the integration
between soloist and orchestra.” www.mundoclassico.com,
09.05.03 “In
the closing of the program, Alexandre Dossin performed the
“Emperor” by Beethoven. Undoubtedly, Dossin is a performer
with many qualities, a solid technical command and a very personal
way of interpretation; his criteria in the phrasing and dynamics
seemed to inspire the orchestra. (…
)excellent articulation and refined phrasing.” La
Nacion, Buenos Aires, Argentina, 09.03.03 “Dossin’s
piano has the touch of a master. His hands are a wonder to watch,
and he has full control of the keyboard. He is a master of
contrasts, changing drastically from bombastic and frenetic to
soft and sentimental. Dossin united the public’s emotion with
music. He took us on to a musical roller-coaster.” The
Daily Advertiser, Lafayette , Louisiana, 07.06.2002 “Stunning
pianist… symbiotic relationship with the instrument - a
relationship that translates to musical wonder.”
“Dossin's approach to the piano is primarily poetical. But it can
be the heroic poet as well as the pensive, deeply introspective one. In
the Liszt Dante Sonate, the menacing and diabolical poet also muttered,
gamboled and even terrorized, an effect that was previewed in the
astonishing chromatic contrary double octave passage which ended the First
Chopin Ballade.
Dossin's entire concert exhibited a masterful design of tonal
dynamics. His Mozart Sonata recalled the fortepiano in scale of sound and
judicious use of pedal, but it fully plumbed the enchanting range of
colors in the modern piano's quieter tones. His Chopin and Schumann,
while still making use of soft bell-like tones that were a recurring
delight, upped the dynamic range in each section of rising
intensity. It was not until the Liszt that Dossin chose to make the
bass growl and brewed a storm of bright brass octave sound in all
registers of the keyboard, yet his filigree passagework still shimmered
with delicate clarity.
Dossin's handling of phrasing and voicing evidenced an obvious
devotion and intense involvement with each musical line in all his pieces
and his ability to make the piano a servant to his own wish to serve the
music. Even the most complex, most rapid thematic material as well as the
simplest, had its sense of shape and direction in inner as well as more
prominent voices. He made rich use of the pedals in the Romantic
works; flawless and fearless octave passages in the Liszt were at
times pedaled generously as required but still exhibited a crisp
clarity.
Dossin's playing is impressive musicianship at its best.”
The Bryan-College Station Eagle, Texas, 10.25.2000
“…familiarity with the keyboard and an agile and delicate touch …
master of expressiveness… great technique working for a rare talent.
Exceptional pianist.”
Diario Popular, Pelotas, Brazil, 08.15.2000
“He is in full process of maturity and is always serious and
competent. He is secure of his technical and interpretative
capacity.”
Zero Hora, Porto Alegre, Brazil, 08.26.98
“Dossin is a phenomenon: his Mozart Sonata was wonderful. He knows
very well how to sing Mozart with full control. This is the way that
Mozart should be played. Brahms’s Intermezzi op. 117 were more than
perfect, sublime. Prokofiev’s Toccata was the apotheosis.”
Zero Hora, Porto Alegre, Brazil, 07.09.97
“The soloist, a student of the Moscow Tchaikovsky Conservatory,
Alexandre Dossin, was fully artistic and performed Mozart with freedom. In
spite of his young age, he showed himself as a fine performer of the great
composer.”
Moscovskaya Pravda, Moscow, Russia, 06.23.94
“…Alexandre Dossin is certainly prepared to be a brilliant pianist
in the international musical life. And will for sure enter in the selected
gallery of the piano virtuosos.”
Zero Hora, Porto Alegre, Brazil, 08.19.90
“His ‘Allegros’ from the Haydn Sonata were wonderful, and it was
possible to admire the extreme sensibility and technique of Alexandre
Dossin, who is still a teenager but has already a wisdom that not every
mature musician can find. Liszt’s Liebestraum was perfect, historical; a
lesson of good taste and style. His touch is very delicate and the same is
related to his performance of Debussy’s Claire de Lune and Chopin’s
Fantasie-Impromptu.”
Gazeta do Sul, Santa Cruz do Sul, Brazil, 07.18.1989
“…pianist with a great stability and a beautiful sonority. He has a
brilliant pianism, great strength of contrasts, technical freedom,
personality and intelligence… there are no difficulties for him…
exceptional performance. Young performer that has a brilliant technical
interpretation. He is already a reality.”
Diario Popular, Pelotas, Brazil, 10.28.88
“Instrumentalist with huge possibilities and a sensibility worthy
of admiration. He has strong fingers and a beautiful clarity of
sound.”
Ultimas Noticias, Montevideo, Uruguay, 10.29.85
“A young pianist with perfect performance, fully developed with
clarity and elegance, technically and aesthetically.”
El Dia, Montevideo, Uruguay, 10.25.85
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