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03HOUGH1_SPAN-jumbo-v2What can I write about Stephen Hough’s startling, stunning concert at the Festival Hall last night?

During the second half, between the miniatures by Debussy and Beethoven’s elemental Appassionata Sonata (Op 57), I leaned across to my concert companion and muttered that this concert seemed to be all about spontaneity and improvisation, the short works by Debussy which opened both halves of the concert, in themselves, and in Hough’s skillful hands, improvisatory in character, revealing the same qualities in the works by Schumann and Beethoven. One had the sense of meticulous preparation – and Stephen has talked before in interviews and articles about practising of the need to be “a perfectionist in the practise room” so that one can be “a bohemian” on stage – which enabled him to step back from the music and set it free.

It was an unusual programme. Other pianists may not have been able to pull it off so convincingly, and certainly opening with Debussy’s much-loved Claire de Lune from the Suite Bergamasque was potentially risky. The piece is so well-known, so prone to clichéd readings – yet Hough’s sensitive, unfussy shaping of this work saved it from saccharine sentimentality, and the delicacy of his sound and touch encouraged concentrated listening while also creating a wonderful sense of intimacy in the vastness of the RFH. It was as if we were in Debussy’s drawing room, gathered around his upright piano. And as Stephen said in the pre-concert talk, in the moments of the concert, we can “all be friends”, forgetting our differences of opinion or politics, joined in the shared pleasure of music.

In the programme notes, Stephen Hough explained that his choice of repertoire highlighted the very different approaches the three composers took to writing for the piano. While Debussy’s works (Clair de Lune, the two books of Images and the Prelude La terrasse des audiences du clair de lune) are “sensual paintings with mystical suggestions” [SH] (and even without the titles, their distinctive soundworld immediately conjures up potent, perfumed images in the listener’s mind), the two works by German composers are abstract and tightly structured with clear musical architecture.

And so while Debussy was light (feathery, but never fluffy) and delicately hued, the textures of Schumann’s Fantasie in C seemed all the richer in comparison, the composer’s passion for Clara all there in every note and phrase (Schumann often wears his heart on his sleeve), balanced by lyricism and tenderness, particularly in the glorious closing movement which seemed to evolve and expand there and then.

Similarly, the Beethoven felt wrought before our very eyes and ears, the opening measures creeping out of the mysterious darkness of the lower registers into something resembling light, if only briefly, the work fantasy-like in its range of ideas and striking contrasts. The outer movements were fraught with emotion, urgent and agitated, the middle movement providing a calm respite before the finale was unleashed upon us with, its feverish intensity all the more terrifying for the restrained tempo: this was music on the edge of chaos.

Stephen returned to Schumann for the first encore, one of the Symphonic Etudes which was rejected by the composer – a brief few moments of meltingly beautiful filigree traceries. And a Chopin nocturne to close this exceptional evening.

 

 

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Julian Davis, a retired professor of endocrinology, shares his passion for the piano…..

How long have you been playing the piano?

I started playing when I was about 6 years old, so quite a few decades now!

What attracted you to the piano?

My father was a self-taught pianist and enjoyed playing Chopin Mazurkas, so I heard piano music from a young age. He bought an upright piano, and I think I was just fascinated with trying to make a nice sound with all those tempting black and white keys.

What kind of repertoire do you enjoy playing, and listening to?

My favourite composer since my teenage years was Bartók, and ever since then I have enjoyed exploring 20th century repertoire – initially I enjoyed Rachmaninov, Prokofiev, Shostakovich, Messiaen, and then discovered some of the music written since the 1950s, by composers such as Stockhausen, Boulez and Ligeti. But as I have got older, I have discovered the huge riches of all the great classical composers, and favourites now have to include Bach, Mozart, Beethoven, Schubert and Brahms. Over the past few months my big challenge pieces have been the Brahms Handel variations, Prokofiev’s 7th sonata, Schubert’s D784 sonata, and Bartók’s 1926 sonata. I really enjoy music for two pianos, and with some indulgent pianist friends I’ve had the pleasure of ranging widely over the 2-piano repertoire, from Mozart to John Adams. (Although no-one has been tempted to look at ‘Mantra’ yet!)

Apart from piano music, I have had some of the greatest pleasure playing chamber music. I think my favourite chamber music is that of Brahms, but I’ve been lucky to play a huge range of works, mainly 19th and 20th century music.

How do you make the time to practise? Do you enjoy practising?

Somehow practising – at least as an adult – has always been a pleasure in itself, and I have had real enjoyment from carefully working on something that’s quite hard but eventually starts to become possible. When I was working full time it was hard to do as much as I wanted, but somehow I always found a way to get to a piano. I did the LRAM performance diploma while working as a junior doctor. It was the hardest thing I’ve done: I managed to get 2 hours’ practice from 6am until starting work, and then had more time during the evenings when I wasn’t on call in the hospital. I’m surprised that the neighbours tolerated it!

If you are taking piano lessons what do you find a) most enjoyable and b) most challenging about your lessons?

I have had lessons on and off all my life, and still gain a huge amount from occasional lessons. I find a lesson quite a goal in itself, and always find that I’m just as nervous playing in front of a single critic, however friendly, as I am playing in front of an audience. Having a lesson coming up makes me focus properly on practice, and review my goals. The most enjoyable aspect I think is the chance to focus for a couple of hours on music that I love, and that I’ve worked hard to master, combining advice on technical challenges with ideas about how to convey it more effectively, often in ways that I hadn’t thought of. The challenge: well, that is trying to master the technical aspects as well as possible beforehand in order to allow the lesson to move on beyond that – and the real challenge of course is always that I never play as well as I think I should!

Have you attended any piano courses? What have you gained from the experience?

I haven’t really had the time to attend courses until recently, when I have started to go to the Dartington International Summer School. I first went to Dartington in 1983, and returned 30 years later. The escape from work to a week of intensive music-making in the summer school has felt somehow magical every time I’ve been, and I haven’t been able to resist returning for the past few years. A week at Dartington has all sorts of opportunities for music, but for me the piano master-classes and workshops have proved particularly inspiring.

Do you play with other musicians? If so, what are the particular pleasures and challenges of ensemble work?

I love playing solo music, and the feeling of self-sufficiency and responsibility makes it important for me. However ensemble playing has always been one of life’s biggest pleasures. Each ensemble feels very different, and working together as a duo, or as a trio or a larger group provides something very special in terms of musical and inter-personal dynamic. At its best, the sense of musical give and take, intense listening, and working together to create something wonderful that you can’t do alone, can be one of the most magical experiences that I have had in music.

Do you perform? What do you enjoy/dislike about performing?

I don’t think I’m naturally very extrovert, but I do enjoy performing. It’s a pleasure when I feel well prepared, and when I feel I can convey something about music I love to an audience. I find concerts where the performers talk about the music much more rewarding, and I like to talk about the music I’m playing, not at length, but enough to tell people about the context of when and why the music was written, how its structure works, and why I like it.

Recently I’ve found that house-concerts have been really satisfying. We can only fit 10-12 people into the room with the pianos, with a few sitting on the floor, but others can overspill into the hallway or in another room. The informality of a short programme, with tea and cake and friends and children milling around, seems to work well, and our very loyal friends and neighbours seem happy to come back for more.

What advice would you give to other adults who are considering taking up or returning to the piano?

Do it! I think that learning the piano is a peculiarly rich activity: there is the fulfilment of gradually achieving a technical challenge, and the tactile pleasure of interacting with the instrument, together with the magic of making a piece of great music come alive in front of you.

If you could play one piece, what would it be?

This sounds like the challenge put to me by my teacher, William Howard: ‘What work have you always wanted to play, but thought you couldn’t?’ The answer of course, is that there’s a long list of such pieces! But limiting myself to one work sounds rather tough… but for something unattainable, how about Ravel’s Gaspard de la Nuit.

 

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Renowned pianist, Paul Roberts, will entertain guests with an evening recitals of piano works by Debussy and Beethoven in Finchcocks’ newly renovated vaulted cellar

Finchcocks, the newly transformed piano school in Goudhurst, Kent, today announced its charity piano concert event to support the work of Help Musicians UK. The intimate evening of music will celebrate the two-hundredth anniversary of the delivery of one of Thomas Broadwood’s best pianos to Beethoven.

The concert is in collaboration with John Broadwood and Sons, and will take place at historic Finchcocks on the 27th May 2018, beginning at 7.30pm.

All proceeds from ticket sales will go to Britain’s leading independent music charity Help Musicians UK

BOOK TICKETS

Finchcocks have three Broadwood pianos that they use for weekend piano courses, and one of them bears a remarkable resemblance to the one that Thomas Broadwood sent to Beethoven in 1817. It is said that Broadwood invited five of the best musicians in London to help design the instrument for Beethoven, which took nearly a year to make before it was transported over land, sea and the Alps to reach the famous composer.

Pianist, Paul Roberts, will give an inspiring solo conert, performing pieces by both Debussy and Beethoven in Finchcocks’ newly transformed, atmospheric vaulted cellar. Paul will be playing on one of Finchcocks’ barless Broadwood grand pianos.

The cellar at Finchcocks
The cellar at Finchcocks

All proceeds of ticket sales will be going to Help Musicians UK, which since 1921, has provided help, support and opportunities to empower musicians at all stages of their lives. The charity helps emerging professionals to develop their talent and get started in a professional career, existing professionals who have hit a crisis in their lives, and they also help with musicians with long-term or terminal illnesses and those needing special help as they grow older. In addition to donating the profits from the ticket sales to Help Musicians UK, Finchcocks says that the partnership signifies a wider commitment to raise awareness of the charity.

Neil Nichols, the new owner of Finchcocks, said:

“The Broadwood concert at Finchcocks should be a fantastic evening of classical music – where guests will have the opportunity to enjoy Debussy and Beethoven rendered beautifully in our newly transformed space. We hope the concert will raise much-needed funds for Help Musicians UK, as well as providing opportunities to inspire people to support the charity in the long-term.”

Susie at Help Musicians UK, commented on the partnership:

“We are really grateful to Finchcocks for choosing Help Musicians UK as their charity partner. We are looking forward to working alongside the team and are excited for this special concert in a wonderful setting, which we hope some of our supporters will be able to attend. Through partnerships with organisations like Finchcocks, we are able to offer vital support to musicians in need and ensure musicians can continue to work and thrive in their careers. We very much look forward to developing our relationship further in the future.”

Tickets are £12 and available online. Alternatively, call 01580 428080 to buy a ticket over the phone.

About Help Musicians UK

Help Musicians UK is Britain’s leading independent music charity. Since 1921, HMUK has provided help, support and opportunities to empower musicians at all stages of their lives.

HMUK’s mission is to create a sustainable future for all musicians and the industry. The charity works in partnership to transform the music industry through advocacy, campaigning, programmes and targeted investment for all those within it.

In 2017, HMUK spent a total of £3.5 million assisting 3,426 musicians. HMUK is for all musicians, regardless of their genre, background or problem. They are passionate about making sure musicians and those working in the industry get a fair deal and that their voices are heard.

www.helpmusicians.org.uk​​

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Ludwig van Beethoven

Piano Sonata No. 6 in F major Op. 10 No. 2

7 Bagatelles Op. 33

Piano Sonata No. 26 in E flat major Op. 81a ‘Les Adieux’

Llŷr Williams, piano

Wigmore Hall, 4th April, 1pm

Fans of Beethoven’s piano music are in for a rich treat with Llŷr Williams’ new 12-disc box set Beethoven Unbound, released on the Signum label to mark the completion of Williams’ Beethoven cycle at Wigmore Hall and the Royal Welsh College of Music and Drama (RWCMD). All the works were recorded live at Wigmore Hall over three years and nine recitals. What is especially rewarding about this set is that it contains not only the 32 Piano Sonatas but also the Diabelli, Eroica and c minor Variations (WoO 80), two sets of Bagatelles Opp 33 and 126, and shorter works such as the Andante Favori and Für Elise.

Llyr Williams must credit Benjamin Ealovega handout ...

I had the pleasure of hearing Llŷr Williams live for the first time (rather cross with myself for missing his earlier Beethoven concerts at Wigmore Hall!) at a special lunchtime concert to launch the recording. The three works in the programme offered a striking snapshot of Beethoven’s creative life over the course of nearly 20 years, demonstrating the revolutionary forward pull of his artistic vision – a slow movement in an early sonata (Op 10/2) which foreshadowed the spaciousness and lyricism of Schubert – and his debt to the classical tradition (traces of Haydn in finales and the Bagatelles). Williams’ has a rather unique stage presence which some may find off-putting: he makes little witty gestural “asides” to the audience, often at the end of a section or movement, as if to say “well, there you have it!”. I found this rather agreeable: at times it felt as if Williams was communicating directly with me alone and it created a rather charming and sometimes cheeky intimacy: one felt as if one was very much party to the humour. And there was wit and humour aplenty in the F major Sonata Op 10, No. 2 – a first movement of bright contrasts was followed by a slow movement of almost Schubertian intensity, rounded off by a galloping finale. In the rarely-heard Op 33 Bagatelles, Williams revealed Beethoven’s symphonic and ensemble writing in these piano miniatures, with clear voicings (wonderfully bright brass fanfares in the first Bagatelle and deep, resonant ‘cellos in a later one) and orchestral textures, while always alert to the pianistic nature of Beethoven’s writing: Williams’ clarity and attention to detail was impressive, especially his articulation and use of the pedal. The Sonata in E flat, Op 81a, ‘Les Adieux’, had just the right amount of emotion and heartfelt expression without becoming sentimental, and the “reunion” of the finale was memorably joyful.

As Williams’ said at the reception after his concert, while others choose to focus solely on the 32 Piano Sonatas (in itself a monumental undertaking), this recording steps outside of that traditional presentation, and the works on the individual discs in his Beethoven Unbound set are arranged not chronologically but like mini recital programmes, reflecting the way Williams presented the music in concert.

Recommended – and at £45 (that’s just £3.75 per disc) it’s very good value.

Beethoven Unbound (Signum Classics)

Meet the Artist – Llyr Williams

(photo: Benjamin Ealovega)