Le début discographique de Can Çakmur est une réussite révélant un jeune artiste doué et sensible.
Super Audio CD /Audio CD
Release Date: April 19, 2019 on Amazon.com
Number of Discs: 1
Format: Hybrid SACD - DSD
Label: Bis Records
Cans chosen programme reflects his wide-ranging musical interests from Haydns late F-minor set of variations and Schuberts early Sonata in E flat to Sacrifice from 2017, composed by Fuyuhiko Sasaki for the competition. Also included on the album are Liszts transcription of the Beethoven song Adelaide, and Black Earth by Cans compatriot, the Turkish pianist and composer Fazil Say. Born in 1997, Can Çakmur (pronounced Djahn Tchakmur) studied in his native Ankara as well as in Paris, and is currently a student at the University of Music Franz Liszt in Weimar. He has performed widely in Turkey and has a particular interest in spreading classical music to a wider audience. But recent successes, which include a first prize at the 2017 Scottish International Piano Competition, are leading to an increasingly international career with appearances at prestigious venues such as the Salle Cortot in Paris and Usher Hall in Edinburgh, as well as an extensive tour of Japan in the spring of 2019. For the present release, Can Çakmur has chosen to perform on the same instrument that he chose to play throughout the Hamamatsu competition, a Shigeru Kawai SK-EX full concert grand.
... On the evidence of this album we should be listening to the Ankara-born pianist for a very long time.
... Young Turkish pianist Can Cakmur’s sense of sound differentiation, his phenomenal technique and his ability to share energies with the listener makes this a superb release with a splendidly rhetoric, long and varied program.
Une carte de visite ? Plutôt un aveu. Can Çakmur doit son premier disque à sa victoire dans le très relevé Concours Hamamatsu 2018mais dès la magique paraphrase sur l’Adelaïde de Beethoven caressée par Liszt, le jeune homme montre derrière la technique parfaite un poète, et un poète ardent dont le jeu concentré et pourtant effusif me fait penser à celui de Terence Judd : même clavier lumineux mais plein, mêmes élans, même sens des gradations dynamiques, avec quelque chose d’infiniment vocal.