Barbican. London, 28th October 2015
As befits this deep thinking musical polymath, the programme for Stephen Hough’s Barbican concert was carefully constructed to reveal every side of his personality – artistic, creative and philosophical. The concert showcased Hough’s new Piano Sonata III, written to celebrate the 175th anniversary of The Tablet, which Hough intelligently linked to his choice of other composers. The spiritual preoccupations of Schubert, Franck and Liszt match Hough’s own, but there were motivic connections between the works in the programme too: for example, the final movement of Hough’s Piano Sonata mirrored the grandeur and hymn-like qualities of Franck’s Fugue. Liszt’s Valses oubliées looked forward to Schoenberg and his cohort in their unexpected harmonies and fragmentary melodies, while Hough’s own work looked back to the 12-tone compositional technique, originally conceived by Schoenberg. There was also virtuosity aplenty too – in his own work and in two of Liszt’s Transcendental Études, which closed the concert.
Read my full review here
(Photo credit: Sim Canetty Clarke)