(L’Ape musicale) […] A fronte dello scavo nello spessore materico della Romantica, la mano di Flor si mantiene invece sul piano di un’aerea pittura all’acquerello nel concerto per pianoforte n. 4 in sol maggiore op. 58 (1808) di Ludwig van Beethoven (1770-1827), presentato insieme al solista Alessandro Taverna. Il più bucolico dei concerti del genio di Bonn libera così tutta la sua vena lirica interiore grazie a un pianismo assai rispettoso delle intenzioni compositive, scevro da licenze, controllato nell’eloquio, abile nel tratteggio dei chiaroscuri che improntano l’iniziale Allegro moderato. Il tocco di Taverna diventa scarno ai limiti dell’essenziale nel breve Andante con moto di drammaticità gluckiana, per espandersi infine in un virtuosismo di morbida scioltezza nel rondò Vivace. É mancata forse al trentacinquenne interprete, che ha già percorso molti gradini di un’importante carriera internazionale, una personalità più spiccata nei passi di scoperto protagonismo e in primo luogo nelle due cadenze dell’opera, condotte con brillante sicurezza non disgiunta, a dire il vero, da un certo distacco. Certo egli eccelle nelle delicate cesellature, pure presenti con dovizia in Beethoven, evidenti soprattutto nel preludio op. 32 n. 5 di Sergej Rachmaninov concesso come bis tra gli applausi della sala.
Alberto Ponti
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