The winner of several important competitions, including the Franz Liszt International Piano Competition in Budapest in 2011, and the similarly named International Franz Liszt Piano Competition in Utrecht in 2017, the British pianist now enjoys a high-ranking career in the world’s major concert halls.
Joseph Haydn (1732-1809). Piano Sonata in G HXVI/40 Allegretto innocente – Presto
Ludwig van Beethoven (1770-1827). Piano Sonata No. 21 in C Op. 53 ‘Waldstein Allegro con brio-Introduzione Adagio molto -Rondo Allegretto moderato -Prestissimo
INTERVAL
Franz Liszt (1811-1886)
Nuages gris S199
Piano Sonata in B minor S178
After a truly epic performance of the Liszt Sonata peace reigned as he remembered his teacher Leon Fleischer,who had been in the front row for his London debut many years ago,bringing this extraordinary recital to a sublime close. It was a magical performance of ‘Sleep may safely graze’ dedicated to his teacher at Curtis Institute who passed away last year.
He is the only British pianist to have won the two major International Liszt competitions in Budapest and in Utrecht. It was fitting that he should ignite the Wigmore public with a performance of the B minor Sonata of passion,seduction and drama. It brought the audience spontaneously to its feet as the aching minutes of silence that greeted the final three chords left us breathless and astonished by the drama that we had witnessed in the hands of this thirty year old virtuoso.
A spontaneous standing ovation after his monumental Liszt Sonata
There had been ferment too with a performance of the Waldstein Sonata of relentless driving energy. From the first to the last note it was given the same almost animal frenzy that I remember from Serkin. This,after all,is the ferment that was to explode in the Appassionata before disintegrating in the Hammerklavier and Beethoven coming to peace with the world in op 110 before finding paradise with the final ethereal sounds of the Arietta of op 111. A seemingly ‘innocente’ Haydn sonata in G Hob XV1/40 was not at all innocent as a whole world of opera opened up with characters coming and going on stage in a performance of such character that the Presto finale seemed to be straight from an Opera Buffo.
William Fong director of the Purcell school where Alex received his early training
There was a careful setting of the scene too with Liszt’s visionary Nuages Gris for the menacing opening of the Liszt Sonata that was restored to its true place as the pinnacle of the Romantic repertoire. The peace that Liszt finds with a coda of such aching significance was followed by a similar piece to Nuages Gris from the timeless world of Arvo Paart. In fact it was with supreme intelligence that the programme had a true architectural sense from the curtain rising to the sublime closing with Bach. There was fun too with a ‘Minute’ waltz of such grace and subtle charm that I could swear clocked in at only 55 seconds!
Peter and Annie Frankl the legendary pianist who had been on the jury of the Liszt competition when Alex won – at 86 he had come especially to be present at such an important occasion
The opening of the Waldstein was a mere menacing vibration leading to the luminosity of the mellifluous second subject.No slowing down as he followed scrupulously Beethoven’s indications as you would expect from a disciple of Leon Fleischer.The animal stamping of chords brought the exposition to fever pitch before a development with startling washes of colour,the motor started up again bit by bit as we were literally caterpulted into the recapitulation .There were startling contrast of dynamics with sudden outbursts and the opening theme suddenly appearing in the left hand with swirls of notes above. The slow movement Beethoven marked as an introduction to the Rondo having consigned his original thoughts to his now independent Andante Favori.
with friend and colleague from the Purcell School the distinguished pianist Petr Limonov
Adagio molto was exactly that, in this young musicians hands.It was played with a completely different colour from the Allegro con brio of the first movement with the interruption of baritone melody entering the scene and drifting like an echo across the keyboard. Gradually arriving to the magical ‘G’ that rings out heralding the Rondo last movement bursting into melody on a waft of subdued sounds that Beethoven shrouds in mysterious clouds of pedal.
Laura Capano the distinguished violinist
Episodes of ever more virtuosistic passages disintegrating to the calm of long held chords played with ravishing pianissimi before the gong of ‘C’ is struck and the pace quickens to Prestissimo. Played with startling virtuosity and drive but with exemplary colour and a velocity that even allowed him to play the glissandi scales without having to lick his fingers like Serkin.Even in this helter skekter turmoil there was the sublime beauty of the trill of vibrating sounds on which the rondo appears for a last time like a music box before the final desperate explosion of chords
Giselle Paschall discussing his Beethoven after the concert
The mighty Liszt Sonata was give a young man’s performance in which the total commitment and his self identification touched the audience in an extraordinary way. An all or nothing performance of heroic proportions. It certainly was not the ‘blind noise’ that Clara Schumann described when she received the manuscript of the Sonata with the dedication from Liszt to her already infirmed husband. It was full of wondrous sounds and theatrical gestures.Reaching sublime heights in the Andante Sostenuto that after the magic of the ‘dolcissimo con intimo sentimento’ blazing naked passion was allowed full reign before dissolving to a mere whisper and the return of the opening menacing dark scales. A fugato of breathtaking speed was played with a clarity as its relentless rhythmic urgency erupted into the recapitulation. There was amazing technical prowess in the octave passages but also scintillating streams of gold with scales that shone like jewels as they accompanied the cantando espressivo of Liszt’s ‘Margherita’ theme.Sir John Barbirolli defended Jaqueline du Pré’s unbridled passion saying ‘but if you do not play with passion when you are young ,what do you pare off in old age?’ Indeed it was the same passion that we heard today but we should not forget that Liszt was also editor of the Beethoven sonatas.His genius knew exactly what he was doing when he wrote very meticulous indications in his own Sonata.Leslie Howard has edited the new Urtext edition of the Sonata and I am sure this young artist will observe them carefully as he lives with this masterpiece during the long International career that is fast opening up for him.We await his recording of the Sonata together with the two concerti that is for imminent release following the five star reviews he has received for his sumptuous recording of Russian Ballet Music.
Charles Owen-Katya Apekisheva-Kathryn Stott Gabriela Montero-Finghin Collins
Playing of ravishing beauty of sublime wondrous sounds as the Gods were obviously hovering above Kings Place this afternoon for Katya Apekisheva’s recital of two of the masterpieces that Schubert bequeathed to the world in the last year of his short life.
Drei Klavierstucke D 946 and the Sonata in B flat D 960 were recreated before an audience bewitched by the golden streams of sound that I have not heard since Krystian Zimerman’s recital of Schubert at the Festival Hall a few years ago when he stood in at the last minute for that other unique Schubertian Mitsuko Uchida.
Katya Apekisheva recreating Schubert
Playing with the score less subtly than Zimerman one was not aware of anything except the continuous stream of sounds of rarified beauty.From the exquisite second Klavierstucke where beauty contrasted with subtle menace with such a simple outpouring of melody of a fluidity that belied the fact that a piano is a box of hammers and strings. She made it appear as if it was a celestial harp with never a harsh or abrupt sound. That does not mean that there were not contrasts or a great architectural line . Quite the contrary. Here there were whispered utterances of reverence and love as we were enveloped into a magic world where time seemed to stand still………..Schubert’s last sonata played as a gift from heaven with such ethereal sounds and ravishing beauty.From the very opening where she barely touched the keys and a bass trill that was a mere vibration that suddenly came alive and became the accompaniment of Schubert’s continuous outpouring of song.There was such grace and playfulness too.No repeat but a beautiful modulation and beseeching melodic line as play mingled with song.An Andante Sostenuto of poignant beauty and stillness and an outpouring of streams of golden sounds.A Scherzo of ethereal lightness as it duetted so magically between the bass and tenor like puffs of smoke that arose and disappeared as it led to the menace of the trio.Played like things that go bump in the night which almost got out of hand with a final more than menacing last note!The resonance of the gong that heralds the last movement was played with such a glowing varied sound each time it interrupted the flow.There was a superb control of sound as one layer replied to another until Schubert’s insatiable melodic invention takes wing with a shimmering sense of legato.Full orchestral sound in the central episode never forsook the Philadelphian velvet texture that enveloped and bewitched us as we were drawn into this wondrous world that Schubert was just a stone’s throw from inhabiting forever.On wings of song as never before!A glimpse of paradise indeed.
Sally Beamish in conversation with Owen Mortimer
What fun we were having at Kings Place ……after sublime Schubert the fun of Sonnets by Sally Beamish delighted to describe her lockdown project for three pianists on two pianos chasing each other around the pianos in the final fugue.Well it does after all mean the chase of one voice answering another .
Sally Beamish
In conversation with Owen Mortimer,Editor of International Piano Magazine she oozed charm and delight at what a fun piece she had written thanks to the indication of her husband Peter Thomson,the playright and stage director.He had pointed out that Shakespeare’s Sonnets were also written in a period of lockdown – the Plague! Three pianists who have to act and run about the stage as they outline the story of Shakespeare’s love triangle as in Sonnets 19 and 129 re-enacted and vividly brought to life. The young man played by Finghin Collins and the dark lady of Katya Apekisheva and we will see what role is assigned to Charles Owen in this UK premiere.The world premiere was at the New Ross Festival in Ireland on the 25th September and the UK premiere today the 9th October at Kings Place.It was commissioned by the New Ross Piano Festival and the London Piano Festival.
More superb playing with the ever more exquisite phrasing of Katya Apekisheva combining with the elegance and charm of Finghin Collins to bring to life with joyous brilliance and streaming sunshine the Sonata in D for two pianos by Mozart.A musical conversation of delight and joy.There was a purity and such subtle phrasing from Katya replied by such elegance from Finghin who showed all his masterly musicianship with accompaniments of ravishing delicacy before contrasts ignited with such driving rhythms from just a masterly touch from the bass.An Andante of sublime beauty and Katya opened the molto allegro too with such beguiling charm that was matched by Finghins superb injection of rhythmic energy in a performance that was ravishing as it was exciting.No wonder Josepha Auernhammer was so enamoured with Mozart whom he unfortunately described as ‘ fat as a farm girl and her sweat makes you feel sick!’She did come from a wealthy family though that had just acquired a piano with a high F sharp that Mozart uses here for the only time generously giving it to Josepha on first piano.
Katya and Finghin play Mozart
Joining Finghin on stage was Gabriela Montero for a ravishing performance of Schubert’s F minor Fantasie. Very slow at the opening like the beginning of a wondrous tale that was about to unfold.And unfold it truly did with a voyage into a wonderland of emotions and multi coloured shades that was remarkable.The only work that Schubert dedicated to ‘Countess Caroline Esterhazy :An der ferne geliebte!’ as legend would have it.
Gabriela Montero and Finghin CollinsCharles Owen and Kathryn Stott
Finghin,the great gentleman always,allowed Gabriela the pedal as she carved out the miraculous opening melody with such subtle sounds.Pure magic of trills that were just vibrations of sound passing from one partner to the other contrasting with majestic rhythmic chords.A featherlight scherzo and even more ethereal trio of mingled twine weaving it’s way with such delicacy and shape.A fugue of indecent passion was quite overwhelming and only subsided when Gabriela found the same sounds and sublime serenity of the opening at the end of this great tale.It was a performance where they played as one.There could be no greater compliment than that.
Just as Kathryn Stott and Charles Owen ravished and excited an audience thrilled and excited by such sounds and driving hypnotic energy in Ravel’s ‘choreographic symphony ‘ Daphnis and Chloe Suite n.2.in the two piano arrangement of Vyacheslav Gryaznov.
Peter Thomson-Charles Owen-Sally Beamish-Katya Apekisheva-Finghin Collins
Fun and games followed after the interval with Sally Beamishes witty parody on the presumed love triangle of Shakespeare as revealed to eagle and inquisitive eyes in his Sonnets numbers 19 and 129.’Shall I compare thee to a summer’s day………to shun the heaven that leads men to this hell’
Finghin acting the part of the young man with Charles Owen’s irritated Shakespeare
Finghin revealed all his natural Irish actors skills as he played the elusive young man of Shakespeare’s unwarranted attention.Charles Owen a suitably irritated Bard as Katya K’s dark lady stole the show.This is certainly the way to present a contemporary score with extraordinary versatility and not a little virtuosity.
Gabriela Montero – Kathryn Stott
Rachmaninov in Hollywood style with his Suite op 17 was given a heavyweight performance by Gabriela Montero and Kathryn Stott.Played with sumptuous sounds and startling virtuosity it just lacked a strong musical line in their pursuit to thrill and amaze instead of ravish and seduce.A relentless Alla marcia at breakneck speed was followed by the scintillating virtuosity of the Valse and the romantic meanderings of the Romance before the majesty and astonishing bravura of the Tarantelle.
Katya Apekisheva – Charles Owen
And seduction there was with three charming bon bons by Poulenc.The Elégie written ‘as if improvising with a cigar in your mouth and a glass of cognac on the table’.Capriccio from the finale of the dazzlingly surreal cantata La bal masque.The L’embarquement pour Cythère was played with wit and charm so typical of Le Boef sur le toit of Paris between the wars.Katya K and Charles Owen’s performances were a lesson in style and charm.
Kathryn Stott- Finghin Collins
Grainger’s Fantasy on Porgy and Bess was given a swashbuckling performance of great virtuosity and swing style but rather overstayed it’s welcome and could well have benefitted from the cutting room.An audience suitably thrilled by their dynamic performance but also worried about being stuck in a traffic jam on Broadway and missing their last buses home. However Finghin and Kathryn gave a remarkable performance and they and their companions were justly awarded a bottle of Tattinger each.
Charles Owen- Katya Apekisheva-Kathryn Stott Gabriela Montero-Finghin Collins
I hope they will wait until Charles Owen’s early morning foray with the Goldberg is over before celebrating a joyous weekend of music making together.
Three Beethoven Sonatas played with fearless energy and intelligence by Ronan O’Hora on Fou Ts’ong’s piano that has found such a warm and welcoming home at Oleg Kogan’s Razumovsky Academy. From the first notes of Beethoven’s early Sonata op 2 n. 3 it was obvious that this was no play safe Beethoven as the driving rhythms swept us along on a wave of energy that left no time for sentimentality.Instead there was such strength even in the luminosity of the more lyrical passages contrasting with the explosions of contrasting dynamic energy.Even the Pastoral Sonata had sinister undertones that as Ronan pointed out was written when Beethoven was contemplating suicide. These were performances of someone who has really understood the turbulent character of Beethoven,the same double character that drove Schumann into an asylum.It was with scrupulous attention to Beethoven’s markings that Ronan brought these three sonatas vividly to life.Such was the tension created by the headlong turbulence and dramatic energy of the Appassionata that the only outlet was the sumptuous outpourings of Wagner’s Liebestod in the arrangement by Liszt played as an encore .The relentless build up of tension was only released by the magical final chords.The minutes of total silence at the end was of an audience totally bewitched by Fou Ts’ong’s magnificent piano in the hands once more of a master musician.
Fou Ts’ong’s magnificent Steinway DThe beautifully warm wooden interior made with loving care by Oleg’s own hands Oleg Kogan ,the distinguished cellist The hall built by Oleg with his own handsMihai Ritivoiu recording technician for his friends and colleagues from his Alma Mater of the Guildhall where he graduated from the class of Joan Havill
Ronan O ‘Hora with his wife who told me of Ronan’s lock down project of learning the 32 Beethoven Sonatas that he will be presenting in a complete cycle shortly
George Fu-Thomas Kelly -Simone Tavoni-Sasha Grynyuk
Some extraordinary performances in the Cunard Hall in Trafalgar Square now the distinguished ‘Sala Brazil’ of the Brazilian Embassy.The 200th anniversary of Brazil and the 30th of the Keyboard Trust and a celebration concert of four star pianists from the KCT stable.George Fu played music by Nepomuceno and the Saudades do Brasil by Milhaud ;Simone Tavoni played Bachianas Brasileiras n 4 by Villa Lobos ;Thomas Kelly the Sonata n.1 by Mignone and Sasha Grynyuk the monumental Rudepoema by Villa Lobos.After the wonderful celebration cake and champagne I did my homework to know more about these works .In particular the remarkably original Sonata by Mignone every bit as powerful as the better known Rudepoema .I share with you my voyage of discovery :
His Excellency the Brazilian Ambassador Fred ArrudaThe celebration cake Geoffrey Shindler – Chairman of the KCT.Thanking his Excellency Ambassador Arruda and also Minister – Counsellor Roberto Doring Pinho da Silva and Joao Paulo Tavares Fernandes,Head of the Cultural Section and of course Sarah Biggs General manager of the KCT- the orchestrators of this important partnership
The Saudades do Brasil (1920), Op. 67, are a suite of twelve dances for piano by Darius Milhaud.Composed after Milhaud’s visit to Brazil in 1917-1918, each dance is based on a duple tango or samba rhythm and bears the name of a place or neighbourhood in Rio de Janeiro.The title of the suite uses the Portuguese term saudade.The work is well known for its use of polytonality though sections may also be considered extended tonality or, “harmonic colour”.George Fu played 1/3/7/8/6 with insinuating rhythms, rumbustious dance,sultry melodic meanderings and a startling freedom that brought this selection vividly to life
The Bachianas Brasileiras ( an approximate English translation might be Bach-inspired Brazilian pieces) are a series of nine suites by Heitor Villa Lobos written for various combinations of instruments and voices between 1930 and 1945. They represent a fusion of Brazilian folk and popular music on the one hand and the style of J.S. Bach on the other, as an attempt to freely adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music .Most of the movements in each suite have two titles: one “Bachian” (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).Simone played with crystalline sounds of great beauty and child like simplicity with an explosion of temperament with clashes of drums and a mixture of excitement and mystery.
Simone Tavoni
Number 4 scored for piano (1930–41); orchestrated in 1942 (Preludio dedicated to Tomas Terán; Coral dedicated to José Vieira Brandao Ária dedicated to Sylvio Salem’s ; Dança dedicated to Antonieta Rudge Müller).
Prelúdio (Introdução)
Coral (Canto do Sertão)
Ária (Cantiga)
Danza (Miudinho)(a type of dance, the word itself meaning “choosy”, “niggling”) as spelled on p. 45 of the orchestra score,and, twice in the piano version and once for the orchestral version.
Thomas Kelly
Francisco Mignone composed Sonata No. 1 for piano in 1941, this being his first attempt to compose a solo piano piece in great form. It is dedicated to Magda Tagliaferro.James Melo states that this is the first Brazilian sonata for piano however, Alberto Nepomuceno’s sonata preceded it by almost 50 years (1894).Francisco Paulo Mignone (September 3, 1897, São Paulo – February 19, 1986, Rio de Janeiro ) was one of the most significant figures in Brazilian classical music ,and one of the most significant Brazilian composers after Villa – Lobos .In 1968 he was chosen as Brazilian composer of the year.Thomas gave a performance of virtuosity with a kaleidoscopic range of sounds.Some astonishingly original sounds in the second movement and extraordinary virtuosity in the third.A tour de force of resilience and invention from this recent top prize winner in the Leeds International Piano Competition
Thomas Kelly
Sonata Nº1 was premiered in Rio de Janeiro by pianist Arnaldo Estrella. Mignone’s wife, Liddy, wrote about the piece: “This sonata is a kind of example of the new Brazilian musical spirit”. Luiz Hector de Azevedo pointed out that Mignone was actually expressing orchestral timbres on the piano. Eurico Nogueira France talks about a “national atmosphere and Brazilian aroma”, but does not specify passages in which these characteristics can be found.
Structured in three movements, Moderato- Andantino/quasi Allegretto – Moderato The Sonata presents two brief references to Brazilian rhythmic figurations, one in the first and the other in the last movement. Its technical demands favor the aspects of subtlety rather than vigor. The melodic contours tend to be more conventional and provide a strong melodic orientation in all three movements. These are characterized by a certain emphasis on the third interval, although the treatment receives different features. Mignone develops his melodies (themes) through repetitions, sequential treatment, occasional inversions, and even the displacement from a previously highlighted melody to an internal voice.
The harmonic tension of the piece is established through the use of bitonal sonorities, fourth chords, augmented octaves, tonal clusters , with the exception of maintaining a prevailing tonal orientation. Tension is also influenced by the recording of dissonances, dynamics and chord spacing.
The first movement has the indication of “ Moderato ” starting with an agitated figuration performed in both hands.
The figuration remains in the right hand while the left introduces the theme in octaves
The development section is brief and in the recap the themes are returned in reverse order. The key of C minor remains an important tonal center in this first movement.
The second movement is an “ Andantino, almost allegretto ” written in ABA form. The first melodic contour, as in the first movement emphasizes the third interval (S-D) and is very regular in its phraseology of sustained chords in clusters with staccato
– second movement
The sustained melody technique between staccato accompaniment is also used by Mignone in the second movement of Sonatina No. 3. The diatonic character of this theme moves into a more robust and more dramatic middle section in which bitonality and false relations add tension to the field.
The first melodic fragment of this “ Andantino, quasi allegretto ” always reappears with variations. The proximity to the melodic contour of the first movement becomes more pronounced with each reenactment. In the last bars the melodic contour of the first movement is briefly stated, consolidating an intentional relationship between the movements.
George Fu with Thomas Kelly
The third movement, again in sonata form, emphasizes the Scherzo character and uses the cross-hands feature in its first melodic contour. The second melodic contour emphasizes the samba rhythm, delineated by the upper notes played by the right hand.
The development and recap follow the traditional scheme and end with a codetta with bitonal chord sequences written in opposite motion
As in much of Mignone’s pianistic work, the figurations “fit” in the hands, allowing for fluency in the execution. The sonata principle is confirmed by a consolidated structural unit, both thematically and harmonically.
Sasha Grynyuk
Rudepoêma by Heitor Villa-Lobos,was written in Rio de Janeiro from 1921 to 1926 and is the largest and most challenging work Villa-Lobos wrote for the solo piano It has been described as “Le Sacre du printemps” meets the Brazilian jungle.The score’s dedicatee, Artur Rubinstein explained,the ‘Rude’ of the title did not have the English meaning. In Brazil it meant ‘savage’. When I asked him if he considered me a savage pianist, he said excitedly, ‘We are both savage! We don’t care much for pedantic detail. I compose and you play, off the heart, making the music live, and this is what I hope I expressed in this work'”. This is Rubinstein’s historic live recording :https://youtu.be/LW53963bf08.
Sasha played with total mastery. An impossibly ungrateful score that he devoured like a master and held us all in astonishment and admiration for the continuous outpouring of demonic sounds.
Sasha Grynyuk
The piece was intended as a tonal portrait Artur Rubinstein, who premiered the work at the Salle Gaveau in Paris on 24 October 1927, on the first of a pair of concerts devoted to Villa-Lobos’s compositions.The (Portuguese) dedication of the score to Rubinstein reads, “My true friend, I do not know if I can have fully assimilated your soul with this Rudepoema but I swear with all my heart that I have the impression in my mind of having recorded your temperament and of having mechanically transcribed it on paper, like an intimate Kodak.Therefore, if I have succeeded, you will be the true author of this work”.It is rhapsodic in style and elastic in its structure. It is filled with varied rhythms and dynamic tempo changes which are meant to portray Rubinstein’s brilliant and varied personality.
The two main themes of the work are presented at the outset, the first one in the bass register in the left hand, the second answering it in the right hand. Fragments of both themes are clearly audible throughout the composition, which reaches its climax only five bars from the end, with the right hand raining four fortissimo blows on three low notes, C, B, and A.
George Fu playing Folhas d’Album and Noturno by Alberto Nepomuceno
The son of a violinist, chapel master and music educator, Alberto Nepomuceno was born in the northeastern Brazilian city of Fortaleza in 1864. After completing his early music studies, in 1888 Nepomuceno left for Rome where he studied with Sgambati. Two years later he went to Berlin to study with Lechetizky. In 1893 he married Walborg Rendtler Bang, who had been one of Grieg’s pupils. Grieg, a proponent of musical nationalism, encouraged Nepomuceno to establish a Brazilian national school of composition. Several key works were composed during this time, including his third string quartet, which is one of the earliest works to incorporate Brazilian folklore into European musical forms. In 1894 Nepomuceno returned to Brazil where he taught at the National Institute of Music. In 1910 he gave a series of concerts in Belgium, France and Switzerland; during this trip he also became good friends with Debussy. After returning to Brazil he continued to fight for the use of Portuguese in opera and song. He also taught many students, including Villa-Lobos.Some charming salon pieces played by George Fu with all the charm and ravishing sounds of pieces by a disciple of Sgambati ( who is well known via his beautiful transcription of Orfeo by Gluck played by Rachmaninov and many others after him ).George is not only an illustrious graduate from Curtis in Philadelphia but also of our own Royal Academy in London.Not forgetting that he is an economics graduate from Harvard.Not only a marvellous brain but a heart of gold as he showed us with his great ease and charm today.
On the back of the letter of Mascagni that was given to me by our dear friend Licia Mancini,student of Guido Agosti who played many times in Siena for Giuranna and Brengola and also in the Ghione theatre in Rome.From Sgambati’s son in thanks to Licia’s father for helping his father win a competition in 1889 where Cavalleria Rusticana was born Geoffrey Schindler with Noretta and John LeechRichard and Elena Bridges – Katya and Sasha Grynyuk-Noretta and John Leech – Angela RansleyLeslie Howard with Noretta Conci LeechGeorge Fu with Noretta Roy Emerson – Simone Tavoni – Elena and Richard Bridges Thomas Kelly – Canan Maxton- Sarah Biggs – Alberto PortugheisMario S F Silva Brazilian cultural project manager with Simone,George and ThomasThe ‘boys’ from the KCTLetter from Mascagni that sits in my studio
Chopin: 4 Preludes from Op 28 nos 4,13,15,20 Chopin: Larghetto from Concerto no 2 in F minor Op 21 arr. by the composer
Chopin: Barcarolle Op 60
There were once a series of recitals in the Festival Hall with Polish pianists who would play simply and beautifully with weight and extraordinary legato.I am thinking of Malcuzinski,Niedzielski,Askenase,Smeterlin and the Prince of them all Artur Rubinstein. Since then we have been astonished by the subtle half lights of the Russian school as personified by the appearance in the 70’s of Richter and all that followed in his footsteps .But it was Richter who so admired Rubinstein for his ‘good old concert cantabile’and with whom he became a very close friend. It is a style of playing and projecting the sound that is hard to hear in the concert hall these days.Gilels was the only Russian who could project that golden sound with simplicity and beauty.
It is this sound that we were treated to today by Alicja Fiderkiewicz in a recital of such simplicity and beauty that reminded me of the concerts I once heard as a child. Kinderszenen was played in brilliant sunlight with a radiance and beauty that was touchingly direct. Even the McLeod Dances could well have been Mazurkas such was the same nationalistic nostalgia and celebration.
Four Preludes by Chopin were played with aristocratic poise with both delicacy and passion. I had no idea that Chopin had arranged the Larghetto for solo piano .I have heard the one with string quartet but this was every bit as beguiling.
The Barcarolle is Chopin’s absolute masterpiece and together with Beethoven’s fourth concerto the greatest works for piano. An outpouring of song from beginning to end was given a memorable performance that had Dr Mather cheering from the front row as we were at home.
Performances from the great Polish school of simplicity and aristocratic beauty that was so refreshing to be reminded of.
Alicja Fiderkiewicz was born in Warsaw ,Poland and started private piano lessons at the age of six .A year later she entered Special Music School in Warsaw and two years later she was accepted into Central Music School in Moscow attached to Tchaikovsky Conservatoire .There she joined a class of Prof.Kestner and was privileged to play in front of Gilels,Richter,Nikolayeva.After returning to Warsaw six years later she continued her studies with Prof.Losakiewicz and Prof.Drzewiecki and in the next four years she won several national competitions including Chopin Scholarship for four years in succession and gave performances throughout Poland including Zelazowa Wola ,Royal Park,Warsaw Philharmonic Hall . Having graduated from Warsaw Alicja decided to continue her studies at the RNCM in Manchester with Prof.Bakst .During her studies there Alicja represented RNCM in major venues throughout the UK .She was also a winner and prize winner of several National and International Competitions and recipient of Calouste Gulbenkian Fellowship. Throughout her career Alicja appeared with number of major orchestras including Warsaw National Philharmonic,Halle ,La Scala – Milan, Camerata and worked with many world famous conductors.Apart from many engagements in this country Alicja performed in Poland,Russia,Ukraine ,Israel,Italy,Switzerland,Cyprus,Spain,Finland ,USA, Japan,Singapore ,Malaysia .She also appeared on BBC Radio and TV and recorded four highly acclaimed CD’s .Apart from performing Alicja is busy teaching ,giving Masterclasses and adjudicating in the UK and abroad and is frequent member of Piano Faculty and performer during Chethams International Piano Summer School.
2.0 pmDomonkos Csabay Sonata in F minor Op 2 no 12.25 pm Daniel Lebhardt Sonata in A major Op 2 no 2 2.55 pm Edward Leung Sonata in C major Op 2 no 33.30 pm Martin Cousin Sonata in E flat major Op 74.05 pm Li Siqian Sonata in C minor Op 10 no 1 4.30 pm Mengyang Pan Sonata in F major Op 10 no 2 4.50 pm Roman Kosyakov Sonata in D major Op 10 no 3 5.20 pm Dinara Klinton Sonata in C minor Op 13 ‘Pathetique’ 5.45 pm Simon Watterton Sonata in E major Op 14 no 1
SESSION 2
SATURDAY EVENING
7.00 pm Konstantin Lapshin Sonata in G major Op 14 no 2 7.25 pm Patrick Hemmerle Sonata in B flat major Op 22 7.55 pm Amit Yahav Sonata in A flat major Op 26 ‘Funeral March’ 8.20 pm Leslie Howard Sonata in E flat Op 27 no 1 8.40 pm Caterina Grewe Sonata in C sharp minor Op 27 no 2 ‘Moonlight’9.05 pm Thomas Kelly Sonata in D major Op 28 ‘Pastoral’ 9.35 pm Petr Limonov Sonata in G major Op 31 no 1
SESSION 3
SUNDAY AFTERNOON
2.00 pm Ilya Kondratiev Sonata in D minor Op 31 no 2 ‘Tempest’ 2.30 pm Mark Viner Sonata in E flat major Op 31 no 3 3.00 pm Sofia Sacco Sonata in G minor Op 49 no 1 3.15 pm Gabriele SutkuteSonata in G major Op 49 no 2 3.30 pm George Todica Sonata in C major Op 53 ‘Waldstein’ 4.05 pm Andrew Yiangou Sonata in F major Op 54 4.25 pm Julian Trevelyan Sonata in F minor Op 57 ‘Appassionata’ 5.00 pm Matthew McLachlan Sonata in F sharp major Op 78 5.20 pm Olga Paliy Sonata in G major Op 79 5.35 pm Mikhail ShilyaevSonata in E flat major Op 81a ‘Les Adieux’
SESSION 4
SUNDAY EVENING
7.00 pm Callum McLachlan Sonata in E minor Op 90 7.20 pm Ben Schoeman Sonata in A major Op 101 7.50 pm Ariel Lanyi Sonata in B flat major Op 106 ‘Hammerklavier’ 8.40 pm Julian Jacobson Sonata in E major Op 109 9.05 pm Petar Dimov Sonata in A flat major Op 110 9.30 pm Sasha Grynyuk Sonata in C minor Op 111
Beethoven is alive and well and at St Mary’s Perivale this weekend thanks to Hugh Mather and his remarkable team. A wonderful array of talent celebrating the monument that is Beethoven’s moving journey from the cradle to the grave . 32 Sonatas with 32 Pianists …….or should I say musicians . It was the intelligence and beauty of music making that made this first half of the journey so absorbing. This is not the circus of a competition where there is a lottery to pick a winner. Each one of these carefully chosen pianists had something very special to say.
Starting with the first three pianists playing the op 2 set.By coincidence all students of Pascal Nemirovski at the Birmingham Conservatoire as was the pianist who played the last of the op 10 set. Domonkos Csabay and Daniel Lebhardt both received their early training at the Liszt Academy in Budapest – I was following with Liszt’s own edition of the sonatas that he orders in difficulty rather than chronologically.Both played with that youthful energy that is so much part of early Beethoven before the torments of life took root. Here are some brief notes of this fascinating journey :
Domonkos’s wondrous beauty in the trio took us by surprise as did the cloud of sound with which the Prestissimo entered in a performance of driving rhythmic energy and musicianly precision and clarity from the first to the last notes.
Daniel threw off the bel canto embellishments in op 2.n.2 with consummate ease and grace with Beethoven’s rude interruptions making such contrasts and a Largo appassionanto of orchestral proportions.
Edward Leung played the much more imposing op 2 n 3 with a sense of colour and shape that made the overall architectural shape so clear.He studied in Princeton before Birmingham and he played the Scherzo with fleeting lightness and the Allegro assai with beguiling colour and character.
Martin Cousin brought the important Sonata op 7 beautifully to life with his mature musicianship and intelligence -the Sonata that Michelangeli made his own was every bit as imposing today as in the great Master’s cool hands!This with op 2 n.3 and op 10 n.3 are Sonatas where the important world of Beethoven is beginning to open up new horizons bringing new light and sense of direction to those of Mozart and his teacher Haydn.
Op 10 n 1 was played by Li Siqian with an astonishing sense of precision and balance with an Adagio molto of wonder and beauty.
The precision and rhythmic energy that Mengyang Pan brought to op 10. n.2 were every bit as remarkable as Glenn Gould who first brought this Sonata to our particular attention.A beautifully mysterious Allegretto very individually played with the Trio section so similar to a Schubert Moment musicaux made a beautiful contrast to the astonishing unrelenting bravura of the Presto.
Roman Korsyakov, another student of Pascal Nemirovski,gave a masterly account of the much more imposing op 10.n.3.Interesting to see his Russian edition edited by Goldenweiser( the great teacher of Nikolaeva and Lazar Berman ) where the acciaccaturas of the first movement are played as appoggiaturas – I must consult the new Barenreiter urtext edited by Jonathan Del Mar,Leslie Howard and Julian Jacobson.( It was Julian Jacobson who wrote the fascinating programme notes to this series). Op 10.n.3 is already pointing to the direction of the great sonatas of Beethoven’s maturity.A monumental performance of the great Largo e mesto followed by the charm and grace of the Menuetto and trio before the enquiring and searching Rondo allegro played with the same precision and detail as I remember from Perahia a few years ago.
The sonata op 13 that follows is the famous ‘Pathétique’ and it was played with ravishing beauty and superlative technical control as you would expect from the hands of Dinara Klinton.Suffering from an artrosi of the neck she played with the consummate artistry of the great artist that she undoubtedly is.
Simon Watterton a top prize winner of the Royal College a few years ago mentored by the much missed Yonty Solomon finished this first session with the first of the two sonatas op 14.They were sonatas often played by Sviatoslav Richter and Annie Fischer who realised the absolute perfection of these two unexpected jewels.Simon,with his great musicianship showed us all the charm and originality of the E major sonata and he tells me tomorrow he is playing another four sonatas in the 7th of his complete Beethoven series in Walton on Thames.
Konstantin Lapshin opened the evening session with the other op 14 Sonata in G.This even more than it’s sister is a perfect jewel that from the very first notes was played with an exquisite delicacy and sense of balance that was remarkable.The andante and variations were played with a tantalising sense of style with subtle contrasts between the plodding opening and extreme legato of the mellifluous episodes .The Allegro vivace too was played with great charm and grace where Beethoven bursts into irresistible song much as Schubert in his Sonatas. Life is still good for the young Beethoven at this point.
Patrick Hemmerlé was now to take us into the new world that was opening up for Beethoven with his Sonata op.22 .Played with the ease and mastery that we have appreciated recently with his performances of the complete Etudes by Chopin not to mention his extraordinary performance of Rudepoema written for Rubinstein by Villa Lobos (whose live recording from the Museum of modern art in New York is strangely cut off mid performance for this impossibly difficult and ungrateful piece) Patrick and Thomas Kelly ( op 28) are two of the most inquisitive musical minds that I know and have teamed up to play at Clare College in Cambridge to explore works from a vast almost unknown piano repertoire.It was exactly this sense of wonderment and discovery that they brought to the Sonatas op 22 and 28 today. Patrick brought his extraordinary musicianship,sense of balance and architectural understanding to a Sonata that I first heard from Richter.A critic said the slow movement was in existent as he played it so quietly we were not yet acclimatised to this school that delved deep into the world of half lights from mezzo forte down to pianississimo.Today Patrick played the Adagio con molto espressione with a wondrous sense of balance – multi coloured and sensuous even – as it unwound before the tempestuous Trio and mellifluous Menuetto and almost Schubertian Rondo.
Amit Yahav brought beauty and charm with an extraordinary sense of detail to the Andante and variations opening and great drama to the Funeral March from which this sonata op 26 takes its name .The Allegro floated in and out with a fluidity and enviable agility.
A message from The Ingesund Piano Academy in Sweden summed up the performance of Leslie Howard: ‘such mature masterful playing ‘. His op.27 n.1 was played by this remarkable musician with simplicity and intelligence the same that was so admired by Guido Agosti when a young man played op 101 to this legendary pupil of Busoni in Siena .Now a legendary figure in his own right ,as Hugh Mather rightly said ,he has been responsible for the new Urtext edition not only of the Beethoven Sonatas but also a long overdue Urtext of Liszt B minor Sonata (having recorded all the works of Liszt on 100 CD’s).His performance of Beethoven showed off his subtle use of pedal and scrupulous attention to phrasing that brought this masterpiece vividly to life.
Caterina Grewe had the task of playing what is Beethoven’s much loved but often totally misunderstood ‘Moonlight’Sonata.Who has not ‘had a go’ at the first movement dreaming of the moonlight that Beethoven never contemplated .Here Caterina restored it to its true astonishing originality.A first movement Adagio sostenuto!Yes but played in two not four that allowed the melodic line to shine out in all its architectural glory rather than being submerged by the triplet accompaniment .A charmingly mellifluous Allegretto and trio was interrupted by the tumultuous Presto agitato played with astonishing rhythmic impetus and authority.
Thomas Kelly fresh from his triumph at Leeds showed all his natural gifts in the ‘Pastoral’ Sonata op.28. His liquid sound world so suited to this most Schubertian of Beethoven’s Sonatas.If the repeated D’s in the bass could have been more measured it is after all Beethoven’s heart beating so happy and contentedly and only accompanying the melodic line that was so movingly shaped .The Andante,one of Beethoven own favourite works, was played with wondrous sounds and contrasting sense of character.
Petr Limonov’s astonishing natural gifts gave such shape to the first of the three sonatas op 31 which closed today’s survey.His superb natural musicianship allowed the beautiful bel canto Adagio grazioso to be shaped with such colour and wonderful detail before the superb technical brilliance of the Rondo Allegretto
Beethoven in Perivale day 3 It was a beautiful clear day with the sun streaming in through the stained glass windows of this beautiful redundant church.Situated in an oasis of greenery just a stone’s throw from the centre of one of the busiest cities in the world.
Yesterday the first sixteen of Beethoven’s output of thirty two sonatas finished awash in one of those rainy days that London can so often boast. Strangely enough the curtain opened on this second day with the ‘Tempest’ Sonata for the second half of the Sonata cycle that has seen some of the finest young musicians partecipating with such enthusiasm and inspiration. But it was above all the superlative playing that Hugh Mathers fifth cycle series had inspired and encouraged that was so stimulating. As Dr Hugh Mather exclaimed it is so much more interesting to hear a cycle with 32 pianists than the more usual one man cycle. Nothing is taken for granted as each one of these young masters approaches a sonata with their unique personality and musicianship. It was indeed as Rubinstein had told the young musicians at his first competition in Israel: A musical personality likened to the work of a bee,each one collecting what attracts him to make their own unique honey. It was this continual change that was like looking afresh through a prism at these works that we have lived with for a lifetime. I think it should also be said that it gives a professional engagement and a worldwide streamed platform to thirty two wonderful players,most at the start of a very uncertain career in these difficult times.
Why does a retired physician take on such an enormous task with three concerts a week plus these special event cycles? I remember hearing Maria Joao Pires in Oxford playing Mozart Double Concerto with Julien Brocal a young aspiring pianist who at a competition in Monza had asked me advice about what he should do next to advance a career in music.I went backstage to thank Madame Pires for all she is doing to help these young musicians. ’What I am doing for them!’ she exclaimed ‘it is what they do for me!’ It is this spirit that hovers over St Mary’s and inspires not only the young musician but also the team of retired professionals all working to achieve excellence. And excellence there was again today with the Sonatas from op 31 n.2 to the final op 111.Each individually shaped and tailored,played with intelligence and beauty but above all a professionality that would be the envy of any of the great concert halls in the world. Here are a few notes that I hasten to point out are only my personal opinion – nothing is written in stone but my comments are made with great admiration and not a little knowledge I might modestly add! Blowing my own trumpet as indeed a basset horn used to do more than a century ago.It was Bernard Shaw who used to sign his musical criticism in that way!Could it have been to avoid a black eye?
One might very well say that the curtain opened with Ilya Kondratiev’s theatrical performance of the Sonata op 31 n.2.Every note enacted as he lived every moment of this remarkable Sonata from the mysterious opening Largo to the dramatic recitativi and sumptuous Adagio and beguiling Allegretto.The atmosphere he created using Beethoven’s own revolutionary long pedal points created a magic broken only as he unleashed the Allegro in the opening movement.A superlative technical control and ravishing sense of colour brought this great drama vividly to life.
Mark Viner,fast making a great name with his recordings of Thalberg,Alkan,Blumenfeld,Chaminade and many others,tells me he has now been bitten by the Beethoven ‘bug’ which was immediately evident from his superlative performance of op 31 n.3 ‘The Hunt’.A Sonata that I remember Artur Rubinstein including in the last recital of a long career in the Wigmore Hall in 1976.Mark has a refreshing way of delving deep into the score taking nothing for granted as he bring the music vividly to life with such intelligence and superlative technical control.Had I heard his ‘Appassionata’ he asked?Unfortunately not but I certainly will seek it out after hearing his performance of ‘The Hunt’ today.Such a pastoral feel to the opening movement with a driving rhythmic energy and subtle sense of phrasing.The Scherzo was played with the same drive and irresistible lightness that I remember from Rubinstein.There was ravishing tone in the Menuetto but I am not sure about his change of tempo in the Trio ( used by Saint Saens for the theme of his variations for two pianos).The Presto con fuoco was indeed ‘The Hunt’ played with superb technical control and drive and we even discussed together with Dr Mather the fingering of some treacherously difficult passages.This sort of friendly discussion with the artist must be unique to this venue and was to lead to a heated debate later about the opening of the’Hammerklavier’ or op 111 – these are not play safe Sonatas!He who dares to venture into this territory is not for someone with health and safety regulations in mind!
A young pianist from Padua -Sofia Sacco- perfecting her studies at the Royal Academy with Rustem Hayroudinoff gave a ravishing performance of the op 49 n.1 sonatina.Played with such musicality and character.We all remember it from piano lessons but when played like this it is unjustly excluded from the concert hall.
It’s sister op 49 n.2 was played by her friend and colleague Gabriele Sutkute from the RAM under Christopher Elton.She too brought this ‘practice’ piece vividly to life.From Lithuania she played with such natural musicality.She became almost part of the piano as her natural movements and enactment of the story she was telling was similar to Rokas Valuntonis (also from Lithuania) who had enthralled us recently with his story telling in Schumann’s Scenes from Childhood. https://christopheraxworthymusiccommentary.wordpress.com/2021/09/27/rokas-valuntonis-pianistic-perfection-at-st-marys/
There are no words to describe George Todica’s fantastic performance of the ‘Waldstein’ Sonata.Standing in at the last moment for (two!) indisposed pianists he gave a breathtaking performance.Risking all ,like Serkin ,as his dynamic rhythmic energy just swept everything before him.The ravishing beauty of the birth of the Rondo I have never heard so beautifully played.Beethoven’s markings all scrupulously interpreted as he threw himself headlong into the glissandi that Beethoven cruelly adds before the celestial re apparition of the Rondo theme.
It was followed by a magnificent performance of the treacherous Sonata op 54.Only in two movements but of transcendental difficulties that Andrew Yiangou played with fearless control and intelligence .The unrelenting perpetuum mobile of the last movement took our breath away as it reached Beethoven’s unforgiving indication of Più allegro.I was not surprised to read that both Andrew and George were both formed in the class of Norma Fisher!Surpise after surprise and not a little astonishment and excitement as the temperature rose in this survey of Beethoven’s life.
Julian Trevelyan
Astonishment there was too with Julian Trevelyan’s ‘first’ Appassionata’.In the last series he had picked the short straw and given a magnificent performance of the ‘Hammerklavier’.He tells me though that he had been putting off the ‘Appassionata’ until today.I can understand the problem of approaching a much played work where tradition has often taken over from a close look at what the composer originally wrote!And it was this in Julian’s performance that was so refreshing to listen to and to watch.Yes,watch because there are many passages of transcendental difficulty that’ pianists’ simplify by sharing between the hands to alleviate any risk in performance.But it is just this struggle and risk that is part of Beethoven’s turbulent character.(His was not a play safe nine to five character!).Julian’s great musicianship and transcendental technical control allowed him to restore this much maligned work to the one that Beethoven had tried to portray on the written page.It was breathtaking as it was ravishing as the menacing opening was interrupted by explosions that never changed the overall pulse but swept us along to the sumptuous second subject.No changes of tempo but a great wave that took us from the opening to the final disintegration.So often played with an accommodating ritardando but here so rightly driven to the final note as Beethoven had indicated.An Andante con moto ‘Cortège’played with orchestral nobility that did not exclude ravishing beauty .An Allegro ma non troppo that exploded out of the Andante with its unrelenting driving rhythm kept excitingly under control.That is until the ‘sempre più Allegro’ and ‘Presto’ where all hell breaks loose as it draws to it’s devastating conclusion.I would have kept Beethoven’s long pedal here,but I think for clarity it was one of the few indications of the great master that he chose to ignore.Pity in my opinion.
Matthew McLachlan enchanted us with the subtle phrasing and scrupulous attention to detail with the beautiful two movement sonata sometimes known as ‘a Thérèse’ .As Beethoven himself said,irritated by the popularity of the so called ‘Moonlight’ Sonata he wrote:’surely I have written much better things:the F sharp major Sonata for instance- now there is really something’( quoted from the excellent notes of Julian Jacobson).The youngest member of the McLachlan clan,all five of the six members star pianists,recently surprised even himself by winning the coveted Chappell Gold Medal in only his second year at the RCM where he is studying with Dina Parakhina.
Op 79 the sister of op 78 brought exhilaration and freshness before Beethoven opened the ‘Golden Gate’ to his final thoughts.Olga Paliy also from Norma Fisher’s studio played with sumptuous clarity and rhythmic verve.Almost Mendelssohnian most certainly in the Andante that was a true song without words in Olga’s simple musicianly hands.A vivace with all the ‘joie de vivre’ that Beethoven longed for but was rarely to enjoy .Olga’s apparition was like a breath of fresh air in every sense – her dress was to die for – like a lemon sorbet before the feast.
And so to the farewell of the afternoon session with a performance of the Sonata op 81a – the only Sonata that Beethoven himself gave a name to : ‘Les Adieux’ but as Beethoven preferred ‘Das Lebewohl’.Played with an exemplary clarity and scrupulous attention to the very detailed indications of the composer.Mikhail Shilyaev brought a sense of wonder to the opening before the journey truly began with the Allegro.The treacherous chordal scales played with astonishing authority as the journey continued on it forward journey.There were sumptuous sounds in the Andante espressivo a heart rending ‘Absence’ before the thrilling ‘Return’ where the long held pedal notes alternated with the freshness of Beethoven’s mellifluous walk in the countryside.
Another of the McLachlan clan – Callum- had flown in from Salzburg where he is studying with Claudio Tanski to play the more substantial two movement Sonata op.90.Played with great energy and commitment and the same ravishingly subtle colours that reminded me of his Schumann op 13 that was so memorable a year ago.His playing is of a rare poetic subtlety which just added magic to the Schubertian outpouring of song in the last movement.
Ben Schoeman played the Sonata in A op 101 with subtle beauty and sense of architectural shape that united all the delicate fragments so intelligently.The almost Schumannesque March was played with driving rhythms and the beautiful long music box pedal created a magical oasis .A beautiful stillness to the Adagio whose magic arabesque leads to a glimpse of the opening ‘avec un sentiment de regret’ before the rude awakening of a fugue of transcendental difficulty played by Ben with all the authority of such a distinguished pianist.
The longest and in many ways the most difficult of the Sonatas is the ‘Hammerklavier’ op 106.Ariel Lanyi is fresh from his triumph at the Leeds Piano Competition where he also played Brahms 2,the longest and most difficult of concertos.A truly monumental performance where in particular the twenty minute Adagio sostenuto was played with an intensity and architectural shape ‘Appassionata e con molto sentimento’.Of course who would ever forget Serkin’s performance years ago in London when he was in his 70’s.Ariel only 23 was every bit as convincing – Serkin was strangely even more Appassionato though but the intensity and commitment were the same.Overwhelming indeed.The first movement leap of course played with one hand – Serkin insisted on that – and anyone who wants to play safe has chosen the wrong work!The Scherzo was played with a fleeting energy and the Trio created a carpet of sound on which the melodic line was contained as it passed from treble to bass.Beethoven’s tempestuous impatience was thrown at us like a slap in the face before the tongue in cheek ending of the Scherzo preparing us for the great journey before us and the explosion of energy in the treacherous fugue.A magisterial performance for a true monument.When you realise that the performer is only 23 one is left,bewitched,bothered and bewildered not to say completely breathless!
The first of the final trilogy op 109 was played by Julian Jacobson with the remarkable authority of someone who has played all the Sonatas in a one day marathon – all from memory except the Hammerklavier he tells me.His authoritative and informative programme notes for this entire series has been an indispensable guide to this great journey.I must say I was surprised to see him stealthily using the left hand for the top note of the Adagio espressivo chord on the tenth bar and I must remember to discuss that with him.Julian has been a consultant together with Leslie Howard for the definitive new Barenreiter Urtext edited by the cellist Jonathan del Mar.Some magical sounds in the opening movement were rudely interrupted by the vigour and technical assurance of the Prestissimo before the rich orchestral texture of the last movement theme and variations.Added bass notes too in the tumultuous final variation just showed that the better you know the score the more freedom you can take .The final two chords after the tempest had subsided were judged to absolute perfection.
Petar Dimov another pianist from the studio of Norma Fisher stood in at three days’ notice for an indisposed artist and gave a ravishing performance of what must surely be the most perfect of all sonatas.It is like the Barcarolle in Chopin’s output that is the jewel in the crown. An outpouring of song from the first to the last note.It was this subtle intimacy that Petar captured as he barely touched the keys allowing the notes to vibrate in this magic world that Beethoven had discovered.Beethoven’s detailed markings especially with regard to the sustaining pedal were beautifully incorporated into the magic.The Arioso dolente just floated on a magic carpet of sound as the fugue crept in and out in an embroidery of thoughts that led to a final exultation that surely must have been the inspiration for Scriabin’s own shining star.
It was left to Sasha Grynyuk to utter Beethoven’s final words.The Maestoso of the op 111 was of course taken in one hand as the three great blocks dissolved into a seething mass of sounds boiling over at a hundred degrees (to use Perlemuter’s own words).Dissolving as the ‘Appassionata’ had done but this time to C major for Beethoven’s last moving farewell.Played with absolute stillness and perfect poise as the variations unwound leading us to a paradise of trills and barely suggested sounds.We can only marvel as this world is revealed with a simplicity and total mastery by Sasha and wonder how Beethoven could transcribe for eternity the celestial sounds only he could hear in his head .Is it genius or is it a miracle – Bach,Mozart Beethoven words are not enough or even necessary……..maybe a great poet could come as near as is possible ………if music be the food of love …….. .play on.
Petar Dimov -Sasha and Katya Grynyuk – Hugh and Felicity Mather The final two Sonatas and a fond farewell to all that
P.S. From Julian Jacobson
Dear Christopher Much enjoyed and appreciated your warm and generous review of the Perivale Beethoven weekend, as well as your kind comments on my own performance. You noticed a couple of eccentricitudes (to quote Ogden Nash)! I was brought up in the purist 50s and 60s never to rearrange, add notes etc. But in adult life as I got to observe and sometimes personally know some great pianists I found that they all redistributed notes, and added or omitted some. (I also got to know Alfredo Casella’s edition of the Beethoven sonatas!) Brendel adds the bass B flat to the last chord of 106 and splits it. I once heard András Schiff obsessively practising bars 3 & 4 of op 106 1st movement with only the upper G and Fs on the chords over the barline, and that’s how he seems to play it (which I think is going a bit far!). The taking of the upper A and D in bars 9 and 58 – a brand new practice for me – was entirely in the service of tone, to separate it out from the harmony grace-notes and avoid any possibility of a thin 5th finger sound. I quickly retook the notes with the RH 5th finger.The extra bass Bs in the final variation are more contentious for sure and I might not do them again: they were just a spontaneous reaction a few days ago to the overwhelming ecstasy of the passage and I thought I’d keep them in for Sunday. I don’t add any of the usual extra notes in the Prestissimo, even if they’re printed in Henle etc, and positively dislike them. But I noticed – for instance – that Ronald Brautigam adds extra bass octaves in the 2nd movement of op 54, even though he is playing on the fortepiano and one might have expected him to be super-authentic! I guessed at his thought process: – the bass line makes little sense with the lower octave dropping out;- just a few years later Beethoven’s piano had those extra notes;- Beethoven would surely have added them at that point, or asked Czerny to add them in performance. So we have the anomalous situation of Schnabel (for example) being more authentic and purist than Ronald Brautigam. But I must remember to ask Ronald (who is our BPSE Honorary European President since Paul Badura-Skoda’s death) if that was indeed his thinking! Naturally I didn’t take your points as criticisms, on the contrary delighted that you noticed them. All good wishes
ChristopherAxworthy-MusicCommentary 