In his Lagos debut, German pianist Moritz Ernst captivated the audience with a stunning recital, blending classical mastery and emotional depth.
In an evening filled with grace, passion, and musical virtuosity, and renowned Steinway artist Ernst delivered a stunning recital at the Musical Society of Nigeria (MUSON) Centre, enchanting Lagos’ classical music enthusiasts in his debut Nigerian performance.
The event began at 7:15pm on Lagos Island, where the prestigious MUSON Centre provided an intimate, welcoming ambiance for Ernst’s one-man show. Attendees were greeted by dimmed lights in the auditorium as Ernst took to the stage. The spotlight cast a dramatic glow over the pianist, whose poised presence commanded attention even before a single note was played.
Born in East Westphalia, Germany, in 1986, Moritz Ernst is celebrated worldwide for his dynamic approach to piano and harpsichord. His journey with the instrument began at the tender age of five, followed by intense training at Detmold University of Music and later at Basel University of Music.
His career now includes collaborations with notable conductors such as Gabriel Feltz and Mario Venzago, as well as frequent masterclasses at leading universities worldwide.
With a repertoire that spans from baroque to contemporary avant-garde music, Ernst’s career highlights include a performance at the German Bundestag and directorship at the Badenweiler Musiktage.
The recital program featured a thoughtfully curated selection, blending renowned classical pieces with works by lesser-known composers.
Ernst opened with “Troubled Water” by American composer Margaret Bonds, capturing the audience with his nuanced interpretation and seamless transitions. He then performed Beethoven’s “Variationen c-Moll Woo80,” where his expertise and emotional connection to the music were palpable.
In a departure from the classical staples, Ernst introduced the crowd to the unique artistry of Marie Jaëll with “Maintenant et Jadi, Poursuite,” following it up with familiar pieces from Chopin, including “Mazurkas op. 68 and “Étude op. 25 Nr.1.” For each piece, Ernst provided brief insights, sharing the historical and cultural significance of each composer, including the 20th-century works of African composer Fred Onovwerosuoke, whose “Studies from 24 Studies” added a distinct African flair to the evening’s program.
The intimate setting allowed the audience to immerse in Ernst’s masterful touch—delicate yet assertive, melodic yet powerful. Every note, whether a gentle whisper or a commanding roar, resonated through the hall, holding the audience spellbound. Between pieces, Ernst occasionally paused to share personal reflections and stories behind the compositions, enriching the experience with his knowledge of musical history and theory.
A brief interval allowed attendees to catch their breath and reflect on the powerful first half. Upon his return, Ernst continued with Walter Braunfels’ “Auswahl aus Präludien,” showcasing his technical prowess and emotional range. He concluded with the majestic “Chaconne in G Major” by George Friedrich Händel, bringing the performance full circle with a nod to baroque masters.
After nearly an hour and a half of transcendent performance, Ernst’s recital concluded to a standing ovation, with the audience applauding long and hard, reluctant to let the experience end. During the applause, he briefly disappeared behind the curtains, only to reemerge moments later—a playful gesture which repeated, that delighted the crowd and added a touch of lightheartedness to the evening. Many in attendance praised Ernst’s ability to breathe life into the compositions, transcending cultural boundaries and resonating deeply with listeners.
Moritz Ernst’s recital at the MUSON Centre was not just a performance; it was an evening of profound musical storytelling. His visit to Lagos marks a significant cultural exchange, underscoring the universal language of music and the city’s growing appreciation for classical art.
Melissa Enoch
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