The importance of classical music, historically and culturally, cannot be overstated. The various periods in classical music reflect political, social and artistic movements from a given point in time. The composers from these periods shared a commonality — they wove a rich tapestry of melodies and harmonies to mine human expression and used innovative forms and structures to communicate a potent and powerful depth of emotion.

Over time, science has proved the therapeutic aspects of classical music. It can facilitate wellbeing and sharpen cognitive function among other things.

Its greater significance lies in the experience for the listener. Which can range from an experience of introspection to a catharsis of euphoric joy.

Over centuries and decades, the relevancy of classical music, regardless of genre, has not diminished.

The third concert of the Bermuda Piano Festival featured another engaging repertoire of classical music with stellar performances while losing none of its lustre.

TainYi Li and Eteri Andjaparidze opened the concert with Robert Schuman’s Six Canonic Études. Li and Andjaparidze exemplified Schumann’s artistic legacy and composing prowess with their four-hand playing.

Germany-born Robert Schumann was a pianist and a formidable music critic who features notably during the Romantic era.

Romantic music was characterised by dramatic and sweeping harmonies used to emphasise great passion and overt emotional expression.

Romantic composers used large orchestras for searing crescendos and other dynamic effects. Beethoven and Richard Wagner are renown Romantic era composers.

Schumann was an acknowledged visionary of the Romantic era whose compositional innovations often belied his standing as a musical genius.

Sadly, his deteriorating health led to a failed attempt to end his life in the River Rhine. Schumann, plagued with acute depression, died of pneumonia at the age of 46.

Interestingly his Six Canonic Etudes influenced Debussy and other composers.

The études showcased Schumann's ingenuity in combining mathematical structure (the use of scales, rhythm, harmony and melody) with expressive emotional depth.

These études were highly regarded because they are technically difficult to play and still retain a delightful musicality.

Schumann’s études could be utilised by pianists equally in performance, as well as in practice.

Georges Bizet’s arrangement of the Six Canonic Études for four hands is often compared to Chopin’s études as these pieces of music are wonderfully realised with their artistic merit at the fore and intact.

Li and Andjaparidze were flawless with their execution and performance.

There has been ample speculation regarding Schumann’s title, Variations on the Name “Abegg”.

It has been suggested the name refers to a musical cryptogram which was the impetus for Schumann to write the piece and was derived from the name of his fictitious friend, Meta Abegg.

Schumann’s wife, Clara, claimed it was a reference to an actual friend, Pauline von Abegg.

With this music, Li demonstrated an executed finesse and adroit fingering to convey his assured technical prowess with the music.

This was highlighted by Li’s ability to energetically traverse vigorous passages and smoothly voice the lyrical passages in a captivating manner.

Claude Debussy’s L’isle Joyeuse followed the variations.

It was another composition based on a painting. His piano solo was inspired by Jean-Antoine Watteau's painting L'embarquement pour Cythère — a painting featuring people on a journey on the island of Cythera, the birthplace of the goddess Venus.

It was Debussy’s ode to love and beauty. Tian Yi Li’s rendition exhibited a technical brilliance commensurate with the demands of the score.

In 1879, Johannes Brahms completed his collection of 21 Hungarian Dances. No. 7 and No. 8 are part of this suite of traditional Hungarian folk tunes which Brahms adapted to symphonic form.

Performed by featured student Svetlana Egorova and Santiago Lomelin, the four hand playing excelled with its arresting melodies, vigorous rhythms and emotional colouring.

Fittingly, the 2025 Bermuda Piano Festival concluded with Franz Hayden‘s Piano Trio in D Major which is admired and esteemed for its festive spirit and alluring melodies.

The impeccable interplay between Alex Tuchman’s piano and the strings of Brian Fox and Sumire Kudo masterfully and artfully communicated the subtleties and the nuances of Hayden’s composition.

During this performance, the sound of the strings felt a bit anaemic as if they were not adequately “mic’ed” and the clarity of the strings seemed compromised despite my proximity to the instruments.

When I queried Alex Tuchman, he said no amplification was used for sound and the microphones were for recording purposes only.

He further explained, in the Haydn trio what I was hearing was the synchronicity of each instrument playing the same note which occurs throughout Haydn’s score.

This led to my next question, why do accomplished musicians need to read sheet music to play?

Alex graciously said: “This performing convention is used to track the other instruments so each performer will know their place in the music.”

Notwithstanding my limitations with this aspect of the music, it remained an impressive performance of creative energy and emotional depth which rendered a rich and unique audience experience. Such is the power of a live performance.

In my first conversation with Alex Tuchman, I asked him to define his requirements for success and at the end of Saturday’s performance I repeated the question to which he replied: “I think success really comes down to whether the assembled musicians and the three programmes were enjoyed by the audience.

“Our goal was to feature a variety of styles from the past to the present day. This year I enjoyed the performances and if the audiences did as well, then we have achieved success.”