Concert Review |

The best thing to come out of Macedonia since Alexander the Great is the 28-year-old pianist Simon Trpceski, who returned to Seattle for Tuesday's President's Piano Series — and, like his long-ago predecessor, did some conquering.

The thorniest musical scores just seem to fall over when Trpceski approaches, their most difficult challenges handled with such ease that technique is simply never an issue. This pianist is pretty good at conquering audiences as well as scores, not only with his playing but also with an engaging manner that connects with his listeners. (He announced the dedication of one of his three encores to Evelyn Simpson, one of Seattle's most indispensable artist aides, in a classy gesture.)

The recital program opened and closed with Debussy, a composer to whom Trpceski clearly feels close; EMI Classics has just released his exquisitely nuanced disc of Debussy pieces, which sounded even better live in Meany Theater. The opening "Children's Corner" was full of puckish humor, and surprises in both dynamics and phrasing.

Prokofiev's seldom-heard four "Tales of an Old Grandmother" emerged as charming character pieces, moody and dreamy or angular and acerbic. You don't hear Prokofiev's Toccata in D Minor much on concert programs, either, and it's clear why: It's a work of staggering technical complexity. Trpceski tossed it off as if it were just a trifle.

The pianist's command of pedalling was particularly clear in a Rachmaninoff set, which included some relative rarities as well as some of the big-moment preludes (including the famous one in C-sharp minor, which Rachmaninoff himself was called on so often to play that he came to hate the piece).

The terrific finale, Prokofiev's much-played Sonata No. 7, was one wild ride, with Trpceski's famous clarity transforming the final "Precipitato" movement, in which other players often mash together the fast-arriving and percussive chords. Not this time. You actually could hear every note — what a concept!

The pianist met an ovation with three Debussy encores: the Arabesques Nos. 1 and 2, and "The Girl with the Flaxen Hair," with some of the loveliest playing of the evening.

Melinda Bargreen: mbargreen@seattletimes.com