Julian is used to much headier, more intellectual programmes such as the 32 Beethoven Sonatas in one sitting, or providing ten or so different programmes as he is stranded on luxurious cruise ships headed to the Bahamas or Bermuda! https://christopheraxworthymusiccommentary.com/2022/08/26/julian-jacobson-and-cristian-sandrin-a-life-on-the-ocean-waves-liberally-speaking/
Today he could let his hair down with scintillating performance for two pianos of Saint- Saëns, Shostakovich, Mussorgsky and ending with Tchaikowsky’s ‘Nutcracker’. Enticed into playing less serious fare by Michael Corby ,at the helm of two magnificent Steinway ‘D’ pianos that stand proudly in the ‘Golden’ library at the Reform Club.
A fascinating concert devised by the eclectic Professor Jacobson, who also happens to be a virtuoso pianist as is Nikita Lukinov. A star shining brightly in an overcrowded sky, Nikita has long included in his solo programmes his own arrangement of Mussorgsky’s elusive early ‘Bald Mountain’, It is a youthful work that from an early age had haunted Mussorgsky and which he never actually heard performed, in any form, in his lifetime. It has also haunted Julian who wrote his arrangement for two pianos to play with Andrew Ball, the much missed head of piano at the Royal College of Music. https://christopheraxworthymusiccommentary.com/2023/02/14/a-celebration-of-the-life-of-andrew-ball-the-thinker-pianist-at-the-r-c-m-london/
Various revisions have now resulted in this latest one, even more faithful to the original intentions of the composer. May the composer now rest in peace with this faithful transcription of what had lain in his heart and mind for a lifetime. Two superb Steinways proudly showing their teeth and played by two pianists listening to each other as they follow the long architectural lines with utmost care and attention. A sense of balance that only two musicians could find, as one accompanied the other with mutual anticipation, united too in glorious outbursts of excitement and exhilaration.
The concert had begun with the ‘Dance Macabre’ , a harrowing tale of demonic sounds from Saint -Saëns, a great pianist who knew all the tricks of the trade, and which he used to diabolical effect in this work. Nikita working harder than Julian with scintillating playing of passionate intensity. Julian at the helm with the pulsating heart beat never wavering but encouraging his younger colleague to even greater heights of demonic exhilaration.
Two solo pieces played by Julian. Two ‘salon’ pieces of charm and fantasy. Glinka’s ‘Souvenir d’une Mazurka’ a rarity that I have never heard in the concert hall before, but that Julian had found in the archives and brought to life with beguiling insinuation and subtle charm. Balakirev made a ravishing transcription of Glinka’s well known song ‘The Lark’ that was played by many great pianists of the ‘Golden Age’ and is still to be found as an encore of many Russian virtuosi such as Kissin and Pletnev. It is a beautiful piece of great effect and Julian played it with a whispered cantabile and delicate accompaniment that was transformed as this Lark flew into action with a scintillating flight of notes before an even more embellished return of enchantment .
Nikita, in his turn, had played some solo pieces transcribed by that modern day virtuoso, Mikhail Pletnev. Two scenes from the Nutcracker and two from the Sleeping beauty were played with an extraordinary palette of colour and passionate dynamic drive. But it was the sumptuous arrangement of the ‘Adagio’ from the Sleeping Beauty that really prepared us for the ‘Grande Finale.’ Tchailkowsky’s ‘Valse des Fleurs’ transcribed for two pianos by another virtuoso pianist Nicolas Economou ,a protégé of Martha Argerich for whom he wrote this trascription,but whose life was tragically cut short in a sports car accident.I had heard them both at his Festival at La Fenice in Venice in the ’80’s ,a very handsome couple indeed and what talent !
The first half of the programme had ended with Shostakovich’s one movement Concertino op 94, a very effective piece written for his son to play together with his second piano concerto. Full of effects and moments of surprising beauty of a proud father wanting to exult the mastery of his very talented son, Maxim.Julian and Nikita played it with dynamic drive of rugged nobility and meandering beauty.
A quick visit to Peter and the Wolf saw Julian and Nikita share the same keyboard, as Julian prefaced a few episodes narrating the story as well as describing it in sounds on the keyboard!
A sumptuous final visit to the ballet with Tchaikowsky’s ‘Valse des Fleurs’ filled this beautiful ‘Sala Dorata’ with the sumptuous fullness that only two Steinway Concert Grands can offer from the hands of two master musicians.
ChristopherAxworthy-MusicCommentary 