Pianistic perfection of Elisabeth Brauss .A kaleidoscope of colours with an enviable clarity and precision allied to an impeccable musical pedegree .
Nowhere more evident than in the encore with the second movement of Beethoven’s seemingly innocuous sonata op 14.n.2
I have heard many great pianists play the jewels that are to be found in the two sonatas op 14 .Richter played them both in his first appearances in London but another woman pianist Annie Fischer was unforgettable. I have never heard this movement played with such Swiss precision allied to the ravishing beauty and sense of character that this young lady shared with us today with such ‘joie de vivre’ and innocent freshness .She has earned a reputation for her playing of the Viennese classics to which she brings a clarity and exhilarating freshness with impeccable good taste and intelligent musicianship.So I was surprised to see a large part of her programme dedicated to Prokofiev and Albéniz.The BBC announcer,Martin Handley ,asked us to feel free to applaud after the Prokofiev but Elisabeth wanted the Albeniz to link up to the Beethoven ‘Hunt’ Sonata without any intrusive interruption!

What wonders she brought to eight of Prokofiev’s early pieces op.12. Like the ‘Visions Fugitives’ this is pre war Prokofiev where his sense of fantasy and colour were of an artist untainted by the trials and tribulations that were so much part of his later works .This was the lyrical poetic Prokofiev who with a few strokes of his pen could create characters and atmospheres that later were to become of more dynamic rhythmic assertions.The beautiful aeolian harp of the Prelude could almost be by Grieg or Sinding such was it’s easy undisturbed flow of beauty more of pastoral charm than military exertions! In Elisabeth’s hands it was of a ravishing beauty worthy of the refined pianism of the Golden age of piano playing.

Omitting the Mazurka and Capriccio she chose those eight that made up a fascinating and satisfying twenty minute suite.From the delicacy of the fairy tale Tchaikowsky style march with the chiselled sounds and pungent harmonies that were already stamped into Prokofiev’s musical personality.A surprise coquettish ending was played with beguiling style by Elisabeth and lead into the gentle Gavotte.Here was a story being told of such innocence with a beautiful turn to the major before the Gavotte returning in crazy celebratory style.There was a burst of refined energy within the Rigaudon of surprising elegance but with a joyous finale.Subtle story telling from the a refined tone palette in the Legende with wistful etherial sounds of questioning – the unanswered question indeed – and ever more unearthly as it drew to an exquisite end.What subtle beauty she brought to the harp like sounds of the Prelude where even the opening left hand arpeggio was allowed all the time to open like a beautiful flower just sharing the subtle perfumed sounds with us. Soon awoken by Prokofiev with his typical Russian dance poking fun with spiky brilliance but after all the fuss just disappearing into the distance no doubt up to his mischief in another town!Things that go bump in the night with a perpetuum mobile of explosive vehemence but a contrasting Trio almost too serious in the Scherzo humoristique .Finally Elisabeth treated us to a jeux perlé of sparkling brilliance and insistence with a Scherzo of remarkable control and virtuosity before the final race to an ending that Prokofiev just underlined for good measure !Elisabeth brought these little gems to life with sparkling wit,virtuosity and heart on sleeve sentiment .It brought to mind Rubinstein who had played a selection of Prokofiev Vision Fugitives in his legendary ten Carnegie Hall recitals that he gave to thank America for offering him a home when Europe was being set on fire.Rubinstein made the simple melodic invention of Prokofiev speak in the same way that Elisabeth did so unexpectedly today.

There were ravishing whispered sounds and colours where one could almost smell the exotic perfumed air in Albeniz’s Evocacion .It was played by Elisabeth with the same clarity and ravishing luminous beauty that I well remember from Rafael Orozco many years ago when he won the second Leeds Piano Competition .Whatever happened to that dashing young Spanish pianist Annie Fischer asked as she had been on the jury and had not forgotten such magical sounds.He lived in Rome and died a sad death like many young artists in the plagued 80’s and 90’s.Nice to be reminded of such artistry as I was today.

Strangely the wistful magical sounds of Spanish somnabulance were joined by the opening questioning sounds of Beethoven op 31 n. 3.Usually played in a more assertive way, but looking closely at the score as Elisabeth had obviously done it is marked to be played in piano only bursting into life after this equally meditative opening .Burst into life it certainly did in Elisabeth’s hands with her well oiled fingers of extraordinary sensitivity and clarity and the first movement ending just thrown off with such nonchalant ease as the Scherzo burst into life.Beethoven’s fortissimi and sforzando were like calls to attention in between the chattering bucolic energy that they commanded.The minuetto was played with beautiful operatic expansiveness and the Trio with such character that one can understand why these seemingly innocuous chord were taken by Saint Saens for the theme of his variations .The Presto con fuoco was played at whirlwind speed with overwhelming brilliance and character .A furious hunt to the final exhilaration of the closing chords.

Sergey Prokofiev (1891-1953) From 10 Pieces Op. 12 (1906-13)
Marche • Gavotte • Rigaudon • Légende •
Prélude • Allemande • Scherzo humoristique •
Scherzo

Isaac Albéniz (1860-1909) From Iberia (Book 1) (1905-6)
Evocación
Ludwig van Beethoven (1770-1827) Piano Sonata No. 18 in E flat Op. 31 No. 3 ‘Hunt’ (1802)
I. Allegro • II. Scherzo. Allegretto vivace • III.
Menuetto. Moderato e grazioso • IV. Presto con
fuoco
The concert was broadcast live on BBC Radio 3 https://www.bbc.co.uk/programmes/m001wyr7

10 Pieces for Piano, Op.12, composed by Sergei Prokofiev, is a captivating and evocative collection of piano compositions. Each piece in this opus showcases Prokofiev’s iconic style, characterized by its daring harmonies and rhythmic complexities. From the delicate, introspective melodies of the first piece to the powerful and exhilarating chords of the last, the set captures a wide range of emotions and moods. Prokofiev seamlessly fuses the classical traditions with modernistic elements, creating a distinctive sound that is both vibrant and intellectually stimulating. The music oscillates between moments of tranquility and moments of intense passion, displaying Prokofiev’s mastery of musical tension. The contrasting dynamics and tempos add a sense of drama to the overall composition, making it an engaging listening experience. 10 Pieces for Piano, Op.12, provides a remarkable insight into Prokofiev’s creative genius. Through its intricate melodies and harmonies, the collection highlights the composer’s ability to push boundaries while maintaining an emotional connection with the listener. It is a testament to Prokofiev’s profound influence on 20th-century music and solidifies his place as one of the most innovative and important composers of his time.

Elisabeth Brauss at the Wigmore Hall The innocent joy of a great musician