Noretta and John Leech applauding Janina together with Lady Weidenfeld
Janina tells me that she had once played the Tchaikowsky Concerto to Rubinstein and he had complained about her moving too much.
She was determined to prove to him that she could play it without the movements too and immediately got his point.
A simplicity in which all the feeling and colour are within the notes themselves without the need to bend or distort the rhythmic impulse on which the music relies.
Rubato of course but within the the tight limits that the composer implies.
A beautiful Impromptu by Germaine Tailleferre opened the truly French half of the concert and was the ideal introduction to the Fourth Nocturne in E flat by Faure.
It was this nocturne that Janina had played so beautifully on the In Tune presentation the day before on the radio.
The subtlety and delicacy of her sound world was even more magical in this performance.
The extreme aristocratic elegance was exactly what Vlado Perlemuter had asked me to tell his audience in Rome when he played some nocturnes, the very ones that Faure had sent down to him to try out in the house they shared together when Perlemuter was still a student.
The sheer washes of sound and forward movement in the Debussy Reflets dans l’Eau was played with an extraordinary sense of colour and the final two split chords were quite magically played.
The sounds from the bass in “Les sons et les parfums tournent dans l’air du soir“ opened the piano up to give a palate of quite ravishing colours.
The architectural shape combined with a subtle sense of timing in which the rests became of such impassioned importance to the forward movement of the first movement of Ravel’s Sonatine.
The refined sense of line in the menuet built up to a fullness of sound that found its outlet in the Anime of inexorable urgency that followed.