Western Early Keyboard Association

Tragicomedy with Haydn and Mozart: David Belkovski, Fortepiano

Saturday, April 25, 2026 – 4:00pm note later time

St. Michael & All Angels Episcopal Church – 1704 NE 43rd Ave, Portland OR 97213

Recital followed by Hands-On Time for Newcomers!
Recital Video | Printable Program

This video will be available only Oct 1 - Dec 31, 2026

Review by Carol lei Breckenridge

David Belkovski’s April 25 fortepiano recital, titled “Tragicomedy with Haydn and Mozart,” overwhelmed the audience – and this reviewer – with its fresh and imaginative projection of the dramatic Classical spirit. As Belkovski noted in introductory remarks, Haydn and Mozart were greatly influenced by the new “comic” opera of the time, with its more realistic portrayal of characters and dramatic interplay of emotions. Belkovski’s playing sizzled with such dramatic contrast and nuanced freedom that it invoked this operatic style, and what an 18th-century audience must have felt upon hearing freshly composed pieces by Haydn and Mozart. The imagination and moment-by-moment contrast that Belkovski brought to this repertoire allowed WEKA’s audience to imagine itself in a late 18th-century music room, utterly thrilled by the drama of the new style.

Haydn’s expressive Variations in F Minor, XVII:6, in which the composer presents two contrasting binary sections – first in F mInor, then in F major – could be perceived as representing the extremes of dramatic feeling – tragedy and comedy. This is especially the case within the tuning temperaments of the time, in which F Minor’s dark tone contrasts with F Major’s calm effect.

Belkovski well conveyed this contrast of mood; the expressively played minor sections, with subtle rhythmic nuance in the intimate soprano lines, shifted to a playful Affekt in the major sections. Haydn’s dramatic flair was on full display by Belkovski, including some shocking shifts of harmony, and a long coda of great fantasy-like flourishes, concluding with the initial 3-note figure on a dirge-like bass and descending treble to an exhausted pianissimo.

In the opening Allegro moderato of Haydn’s Sonata in A-Flat Major, H. XVI:46, a simple Classical composition seems about to unfold, but Haydn – and Belkovski – quickly take us on imaginative journeys from intimate, sweet expression to playful moments and sudden shifts to sections of exciting fury. The Adagio movement, in the dark tonality of D-Flat major, was played in a reflective spirit, reminiscent of the clavichord’s intimacy. Subtle rhythmic nuance in the melodic lines created a natural cantabile, and dissonances were resolved gently. The Finale: Presto fully captured a playful and improvisatory spirit within a blisteringly rapid tempo.

Mozart’s powerful Sonata in C Minor, K. 457, one of only two sonatas by the composer in a minor tonality, represents the height of dramatic intensity. The first movement’s Molto allegro was played with great energy and much contrast, including a furious orchestral-like opening, sweetly nuanced cantabile melodies, cadenza-like chordal rhapsodies, and shockingly dramatic silences.

As Belkovski noted, The Adagio, in E-Flat Major, presents a “peaceful reprieve,” yet continues gentle dramatic contrast, such as through its excursions into the darker tonalities of A-flat Major and G-Flat Major. Belkovski’s subtle rubato brought out the natural expressivity of each cantabile line, along with some reflective silences.

The final Allegro assai was played with extraordinary dramatic flair. Although not note-perfect, Belkovski perfectly captured the fresh dramatic spirit of this movement, with its restless syncopations, dramatic silences, contrasting registers, and never-ending spontaneity.

The piano used for this recital was a copy of a 1789 Dulcken with light Prellmechanik (“Viennese” action), the type of piano Haydn and Mozart played. Built in 1976 by Thomas and Barbara Wolf, it has recently been revoiced by Paul Irvin, including restringing with Stephen Birkett’s historical wire.

David Belkovski is a young artist who is quickly building a career as conductor, soloist, and continuist, equally at home on harpsichord, fortepiano, and modern piano. This recital for WEKA made clear that Belkovski fully understands the multifaceted characters, subtle nuance, and exciting drama of the late 18th-century Classical spirit.

WEKA’s video of this program will be published for only three months, and I encourage readers – especially those who missed the live performance – to hear it on WEKA’s YouTube Channel - link. It might be especially beneficial for piano students to hear the qualities of fresh spontaneity, dramatic interplay, and pure excitement that comprise the essence of Haydn and Mozart’s music.

About the Performer

Born in Skopje, Macedonia, David Belkovski‘s musical journey began with Balkan folk traditions and has evolved into a vibrant career as conductor, soloist, and continuist. Known for his vivid programming and compelling interpretations, he has directed ensembles including Philharmonia Baroque Orchestra, Juilliard415, New World Symphony, the Milwaukee Symphony, and Les Violons du Roy. Recent appearances at the Norfolk, Ryedale, and Aix-en-Provence festivals highlight the breadth of his artistry. This season, he joins the San Antonio Philharmonic to direct the complete Brandenburg Concertos, makes his directorial debut with the Saint Paul Chamber Orchestra, and returns to conduct The Juilliard School’s opera, Saverio Mercadante’s I due Figaro.

Performing regularly on harpsichord, fortepiano, and modern piano, David has won first prize in several national and international competitions, including the 2019 Sfzp International Fortepiano Competition. He has served as Assistant Conductor to Richard Egarr, Raphaël Pichon, and John Butt, prepared orchestras for William Christie, and held the post of Assistant Conductor with Philharmonia Baroque Orchestra.

Hands-on Time for Newcomers – Stay after the recital to try the fortepiano yourself! Piano teachers, piano students, newcomers and enthusiasts are welcome to experience the feel of a Viennese-style fortepiano under the fingers. Knowing more about the instrument gives valuable insights about the Classical style. 

Also, learn more about Viennese-style versus English-style fortepianos in our video by Carol lei Breckenridge. – Watch the video

Admission
Free to WEKA members
Free to 18 and under, children accompanied by an adult
Free to college students with ID
General Admission $25 payable at the door