Mariam Batsashvili and Martin James Bartlett from the very first notes of Bach one could see that this was a dream team.
Sublime music making and a continuous stream of radiance and glowing beauty as they conversed together recreating before our very eyes works that we thought we knew intimately.
A sense of balance that already in ‘Sheep May Safely Graze’ was of such refined sounds as they played as one with a remarkable palette of colours and an architectural understanding that gave such strength to all they did. Kurtag has said that ‘Bach never stops praying’ and his transcription of ‘Gottes Zeit’ that opened the programme just demonstrated that. Martin’s beautifully reverent bass chords were the poignant background for Mariam’s etherial outpouring of ‘twenty of the most heartrending bars in all Bach’s music.’
Martin looking at Mariam with a twinkle in his eye as they inspired each other to delve ever deeper into the music of Bach, Schubert and Mozart. Even a problem with the pedal was soon sorted by the two gentlemen on stage (Martin and the page turner) whilst Mariam ordered her score.
Mariam at the top for Bach and Martin at the top for Schubert and after such democratic beauty they each had their own instrument for Mozart.
Wondrous sounds in Schubert’s F minor fantasy from the very delicate chords that just seemed to be a vibration of sounds from Mariam’s hands, on which Martin could float one of Schubert’s most magical creations. A ‘Largo’ played with an aristocratic rhythmic intent before bursting into song with glowing delicacy and refined phrasing from Martin’s hands. A ‘Scherzo’ rather on the fast side, but this duos wondrous palette of colour and shading shaped the music with the sense of dance that was to contrast with the serious forward surge of the Fugato finale. Voices that were allowed to emerge from the mass of notes that Schubert adds to his last movement as the tension built with masterly control and sense of exhilaration. The beseeching return of the opening melody came as soothing balm after such seriously knotty twine.The final chords played by Martin were of such aristocratic poignancy that the final whispered ending came as a truly blessed relief after such searing emotions.
Mozart just poured from their hands with elegance, grace and dynamic rhythmic drive. Martin looking at Mariam with joyous glee as the music just flowed so naturally from their hands in a musical conversation between two master musicians. The ‘Andante’ just glowed as it flowed from Mariam’s magical hands with Martin following her every move with cat like attention. The ‘Allegro molto’ was played with a nonchalant whispered ease by Mariam, until Martin joined in the fun adding scintillating playing where sparks were flying from one piano to the other. Mariam calming such effervescence with the return of the rondo theme unscathed by such frivolity.
Wherever they sat the music was of the same sublime beauty because here were two musicians, maybe even magicians, who were listening to each other and with chameleonic mastery able to create an amalgam of sounds that is rare indeed for two such renowned soloists .
Mariam taking the bottom for Debussy but piano one for Tailleferre and Ravel, bequeathing her place to Martin for Lutoslawski.
Debussy taken at quite a pace but with such refined phrasing of delicacy and buoyancy. ‘En bateau ‘ just flowed with wistful radiance as Mariam’s magical glowing sounds were matched by Martin’s lapping accompaniment. A ‘Cortège’ played with whispered brilliance contrasted with the wistful comments that announced the elegance of the ‘Menuet’. They both let their hair down with Debussy’s ‘Ballet’ where they played with brilliance and excitement.
Amazing pyrotechnics from two extraordinary musicians who could bring such colour and exhilarating excitement to this showpiece written for Lutoslawski and Andrzej Panufnik to play in cafés in order to survive, having escaped from a German prison of war camp in Poland.It was indeed played with fearless mastery by Mariam and Martin. An extraordinary technical brilliance but with a sense of line and architectural shape, even at breakneck speed, that was truly overwhelming.
Calm after such a storm and torrent of notes with the ‘Berceuse’ from Fauré’s Dolly Suite. Mariam at the top with beauty and seamless delicacy restored by two pianists who could play with the whispered beauty of glowing radiance that had held a full Wigmore Hall enchanted and enthralled, happy to be present at the birth of such a distinguished duo.
We certainly look forward to a return match from this remarkably well matched team!
ChristopherAxworthy-MusicCommentary 