Jan Lisiecki, at 28 years old, is considered a young musician. However, among the pianists who recently made their recital debuts at Carnegie Hall, he stands out as a more experienced performer. Last month, Yunchan Lim, still a teenager, confidently tackled Chopin’s études. And just this week, Alexander Malofeev, aged 22, navigated the complexities of Russian late Romanticism with ease.

While both Lim and Malofeev were making their Carnegie debuts, Lisiecki has been performing with orchestras there since 2016. Despite the intimidating scale of the main hall, with nearly 3,000 spectators, Lisiecki appeared at ease during his solo recital on March 13.

Lisiecki’s program at Carnegie featured Chopin’s 24 Preludes (Op. 28) in the second half, while the first half included a mix of other short pieces in the prelude genre. This unique blend showcased Lisiecki’s expertise, combining well-known works by Bach and Rachmaninoff with lesser-known pieces by Szymanowski, Messiaen, and Gorecki.

Lisiecki’s playing is characterized by gentle precision, aristocratic restraint, and a shadowy touch that retains clarity. He excels in soft playing, creating sensitive and atmospheric effects in various pieces. Lisiecki’s live performances showcase a livelier interpretation compared to his recordings, injecting vibrant energy into the music.

A standout moment of Lisiecki’s program was his rendition of Chopin’s Prelude in C sharp minor (Op. 45), displaying poetic wistfulness and quiet introspection. His nuanced rubato added depth and emotion to the performance, capturing the essence of the piece.

In contrast to Lisiecki and Lim, Malofeev performed in Carnegie’s Zankel Hall, providing a more intimate setting for his New York debut. Despite not having the support of a major record label, Malofeev’s performance showcased his artistry and versatility, featuring a mix of familiar and lesser-known works.

Born in Moscow and based in Berlin, Malofeev faced challenges in his career due to unfounded associations with political conflicts. However, his talent and skill as a pianist have not been overshadowed by these incidents. Malofeev’s performance at Carnegie included a range of pieces, from Rachmaninoff favorites to lesser-known gems like Scriabin’s Impromptus and Medtner’s Sonata-Reminiscenza.

Malofeev’s interpretation of the pieces showcased his versatility and virtuosity, particularly excelling in Rachmaninoff’s compositions. His performance was marked by power, grace, and a sense of structure that impressed the audience.

Both Lisiecki and Malofeev brought their unique styles to Rachmaninoff’s Op. 3, No. 2 prelude, highlighting their individual artistry. Despite their differences, both pianists share a calm and modest approach to their performances, emphasizing musicality over showmanship.