Scriabin – Piano Sonata No.2 in G sharp minor Op.19
Ravel – Miroirs
Mozart – Piano Sonata in C K279
Schubert – Piano Sonata in A D959
Monday 18th June 2018, Wigmore Hall. Peter Donohoe, piano
I can think of few better ways to celebrate a significant birthday than a concert at London’s Wigmore Hall: a beautiful venue with a warm atmosphere, an audience of friends and supporters, and a generous programme of music reflecting the breadth and range of Peter Donohoe’s talents and musical tastes, and celebrating a long and acclaimed international career.
Anyone who attended Peter’s Scriabin sonatas marathon at Milton Court last year (the complete piano sonatas performed in three concerts in a single day) will know that Peter has a real affinity for the diverse and mercurial qualities of Scriabin’s writing, so this early piano sonata proved a good opener, reconfirming Peter’s ability to create multi-hued, highly expressive music and capture Scriabin’s fleeting, often volatile moods. And its rather fantasy-like qualities set the scene well for Ravel’s Miroirs, which for me was the real tour de force of this concert. Here was piano playing of the highest order – exquisite layers of sound, moments of aching beauty, and a clear vision for each movement to shape their individual characters and narratives. Oiseaux Tristes was heat-soaked and languid, its ennui washed away by the sparkling, rolling waves of Une barque sur l’océan – for me the highlights of this set. In both the Scriabin and Ravel, Peter displayed a wonderfully natural insouciance, presumably born of a long association with this music, which brought spontaneity to the performance.
The second half was occupied with the classical sonata form, in the hands of two masters – Mozart and Schubert. While the Mozart was elegant and intimate, as if played at home amongst friends, Schubert’s penultimate piano sonata was pacy and expansive. Here Schubert experimented with the possibilities of the classical sonata form, creating, with its companions the D958 and D960, a triptych of sonatas of “heavenly length” and wide-ranging musical ideas. The first movement of the D959 had grandeur and scale, emphasised by the exposition repeat, which Peter observed, and tempered by moments of introspection and wistfulness, though never melancholy. Its infamous slow movement was a reflective meditation shot through with a barely-controlled frenzy, rather than a funereal dirge with hysteria (the preferred approach of some pianists who shall remain nameless and who insist on reading the marking Andantino as Adagio….). Schubert’s shifts of gear, bittersweet harmonies and moments of wistfulness were neatly captured throughout. The finale was warm and consoling, nostalgic and ultimately hopeful. One can only wonder what else Schubert might have done with the sonata form had he lived longer…..
For an encore, Peter played Mozart’s D minor fantasy, beloved of pianists everywhere and a neat contrast to the quasi-fantasy of the Scriabin which opened this magnanimous concert.