On February 20, distinguished Finnish pianist Juho Puhjonen gave a recital at the Rose Studio at Lincoln Center. It was livestreamed via the auspices of The Chamber Music Society of Lincoln Center for several days afterwards. I listened to the livestreamed performance the following day, February 21, 2025.

It’s been over fifteen years since I was last at the Rose, an intimate, inviting space. This venue perfectly suited the piano recital.

The soloist was introduced,  and spoke at length about his programmed works. Mr. Pohjonen appears to be not an internationally regarded star, but, rather, more like one may expect a virologist working at Penn Medicine to resemble. He has a dulcet tone to his voice, with a pleasant Finnish accent. Once he began playing, all doubts were dispelled. He is indeed a great talent of the keyboard. 

His varied program began with Jyrki Linjama’s Prelude Oublie for Piano, 2024. The prevalent mood of the piece was of eerie mystery, with some dark sense of foreboding. Much as one might expect from a newly- composed film score for a silent horror film.

A Scriabin piece followed which was cut from a different cloth. Dazzling pianism, displaying sparkling high notes, and moody sonic landscapes. It is here that one noticed the pianist’s fingers. They appeared to slither lithely across the keyboard, bringing distinct visions of an octopus elegantly swimming over the keyboard. A bravura performance.

The next work by Franz Liszt was dispatched with an even more exalted bravura, which was thrilling, indeed. It was a fantasia, as was the Beethoven Sonata from 1800 which followed. Again, Mr. Puhjonen spared nothing in the realm of style, wit, and clarity. 

Continuing the program, the soloist now played the Scriabin Sonata number 7, to follow his Sonata number 6 played earlier. It was titled, “White Mass.” Again, great freshets of surprise and delight washed over the audience. Many listening live, as well as those listening and viewing from afar, undoubtedly felt what they may have felt many times before, when eight strapping men, naked and aroused, doused each other in ecstatic fluids, in a pagan splendor of spiritual eclat.

Speaking of religiosity and piety, Mr. Puhjonen concluded his published program with the hypnotic Olivier Messiaen “Kiss of Baby Jesus.”

After much deserved audience acclaim, Mr. Pohjonen gifted us with an encore by composer Edvard Grieg. 

A splendid, inspiring recital of great beauty and interest by an excellent young pianist.

Future livestream concerts will be February 26. February 27, March 20, and so on. For more information, visit www.chambermusicsociety.org .