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Prokofiev – Sarcasms

Ravel – Miroirs

Prokofiev – Visions fugitives Op. 22

Rachmaninov – Piano Sonata No. 2 in Bb minor Op. 36

Steven Osborne, piano

Anyone requiring evidence of a thriving musical life outside of mainstream concert halls should look no further than local music societies, which offer varied concerts and busy seasons and attract top flight artists. St Luke’s Music Society, based at St Luke’s, a beautiful church in south-west London modeled on an Italian basilica and boasting a fine acoustic, was founded in 2003 and offers a popular season of concerts.  Artists this season include Nicola Benedetti and Michael Collins.

Appropriately for a concert held on Burns’ Night (25th January), the soloist was Scottish pianist Steven Osborne. But there the association ended, for the programme featured works by Russian and French composers – Prokofiev, Ravel and Rachmaninov.

The concert opened with Prokofiev’s rarely-performed Sarcasms (which Osborne has recorded for Hyperion). In these provocative miniatures, Prokofiev eschews the trend amongst late-nineteenth and early twentieth-century composers for writing salon pieces based on fairy tales and impressionistic evocations, and instead opts for biting mockery and the grotesque, much in the manner of Schoenberg’s Three Piano Pieces Op 11 or Bartok’s Burlesques and Allegro Barbaro. Alert to the idiosyncratic character of these brief pieces, Osborne’s imaginative approach gave the works the necessary snap and humour, with terse rhythms and a vivid percussive attack, though never at the expense of clarity and tonal quality.

In contrast, Ravel’s Miroirs are very much about impressionistic evocations, though they share Prokofiev’s desire to break free of formal confines. Steven Osborne has a deep affinity with the music of Ravel, and other French composers such as Debussy and Messiaen (his recording of the Vingt Regards sur l’enfant Jesus has received high praise, and his performance of the complete Vingt Regards at London’s Queen Elizabeth Hall last year was one of the most involving and profound musical events I have ever experienced). His unerring ability to fully comprehend the structure and meaning of this music was amply demonstrated in an evocative and colourful performance, from the limpid figures of ‘Noctuelle’ to the foam-flecked swell of ‘Un Barque sur l’ocean’, the sultry rhythms of the ‘Alborada del gracioso’ and the plaintive, distant chimes of ‘La vallée des cloches’. Clarity of sound, tonal shading, deftness of touch and musical understanding brought Ravel’s impressions to life with an atmospheric and shimmering palette of colours and sounds.

More Prokofiev after the interval, and snapshots of his most characteristic moods – grotesque, aggressive, assertive, poetic, mystical, delicate – in the Visions Fugitives, short pieces which shows the composer’s burgeoning talent in their contrasting moods, melodies, textures and rhythms. Osborne acute ability to move between the capricious individual characters of these short pieces – graceful melodies, moments of meditation and repose, violent virtuosity – made for a persuasive and engaging account.

The final work of the evening, Rachmaninov’s Piano Sonata No. 2 in B-flat minor, was tautly managed, yet expansive, Osborne giving rein to the full romantic sweep of this work, at times redolent of the Third Piano Concerto. The rich hues and dense textures of the first movement contrasted with a beautifully nuanced second movement before a brilliant and vibrant final movement which had members of the audience on their feet applauding before the last notes had died in the hall. A single encore, one of Ravel’s Valses nobles et sentimentales, brought to a close a superb evening of music making of the highest order.

Steven Osborne performs the same programme at Wigmore Hall on 14th February.

St Luke’s Music Society

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Emmanuel Vass
Emmanuel Vass

The 2014 season of the South London Concert Series (SLCS) got off to a rollicking start with a sell out concert on Friday 24th January, featuring guest artist Emmanuel Vass. Described by The Independent as “one to watch”, Emmanuel, or Manny to his friends, is a rising star and with a deal with ClassicFM to promote his debut CD ‘From Bach to Bond’, the omens are good for this young Filipino/Yorkshire pianist.

The format of the event was the same as our launch concert: a guest recital of around 35 minutes, bookended by performances by “supporting artists” (we have dropped the moniker “amateur” because so many of our amateur pianists play to a very high level – and last night was no exception). And now that we have already run one successful event, the second one seemed much easier in comparison; in fact, the event basically ran itself. It helped that the bar at the beautiful and intimate 1901 Arts Club was open before the concert, which allowed guests to have a drink and socialise while the performers warmed up downstairs. And as an added benefit, which contributed to the convivial atmosphere, patrons were allowed to take their drinks into the music salon.

The concert was opened by Marina, an amateur pianist and violinist who works in financial services, playing an Etude in G minor by Moszkowski. This proved a lively opener, which caught the audience’s attention. Julie, a piano teacher from Surrey, took to the stage next, with Gershwin’s evergreen standard ‘The Man I love’, which had a lovely romantic lilt. Then it was time for our headline performer, Manny, who introduced his programme engagingly before launching into the bright and haughty first movement of Bach’s popular Italian Concerto. The middle part of his programme was all Spanish, an exotic Orgia by Turina and a sensuous Secreto by Mompou. Manny rounded off his performance with his witty and luxuriant James Bond Concert Etude, complete with Lisztian fiorituras and some vertiginous cadenzas, all of which were applauded very enthusiastically by the audience.

From Bach to Bond and then back to Bach with Alan’s measured and elegant performance of the Prelude & Fugue in C# from the first book of the Well-Tempered Clavier. The concert closed with a piece by Japanese composer Kozaburo Hirai called Sakura Sakura, which translates as Cherry Blossom, appropriately. Performed by Kyoko, it was atmospheric and arresting.

In keeping with the nineteenth-salon atmosphere of both event and venue, most of the audience retired to the upstairs bar and sitting room where the conversation grew louder as more Prosecco was consumed. It was lovely to chat to friends, old and new, and to be amongst so many music lovers and piano fans. Manny signed copies of his CDs and charmed everyone. The stalwarts amongst us then proceeded to the pub, where the conversation continued…..

The Spring edition of the South London Concert Series is on 21st March, featuring guest artist Anne Shingler, and a limited number of tickets are available.

Tickets are now on sale for our May event. Entitled ‘Eastern Accents’, it has a distinctly Russian flavour and includes music by Shostakovich, Ustvolskaya, Szymanowski and Stanchinsky, performed by Armenian-Australian pianist Vatche Jambazian, myself and Lorraine Liyanage. Buy tickets

Future SLCS concerts feature Angelo Villani and Daniel Roberts, and a new concert format ‘Notes&Notes’, in which a guest artist will give a short recital with talk. Full details on the South London Concert Series website. There is also the opportunity to hear Emmanuel again in a solo concert at a unique London venue. Again, details are on the SLCS website.

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Alexander Scriabin

This week I had the pleasure of a “house concert” at my home, during which the pianist Anthony Hewitt played Alexander Scriabin’s Preludes, Opp 11, 13, 15, 16 and 17 on my lovely antique Bechstein. This was an opportunity for Tony to put the programme before a small invited audience of friends ahead of public concerts and a recording. It was a very enjoyable evening of “music amongst friends”, enlivened by beautifully rich, textural and colourful playing.

Scriabin was following in a great tradition of prelude writing which stretches back to Bach, and beyond to the Renaissance, when musicians would use an improvisatory Praeludium (Prelude) as an opportunity to warm up fingers and check the instrument’s tuning and sound quality. Keyboard preludes began to appear in the 17th century as introductory works to keyboard suites. The duration of each prelude was at the discretion of the performer and the pieces retained their improvisatory qualities.

German composers began pairing preludes with fugues during the second half of the seventeenth century, and of course the most famous of these are Bach’s ’48’ from the Well-Tempered Clavier, which influenced many composers in the following centuries, most notably Fryderyk Chopin who based his 24 Preludes op 28 on Bach’s model, traversing all the major and minor keys. Chopin freed the Prelude from its previously introductory purpose, and transformed these short pieces into independent concert works, which are widely performed today, both in programmes and as encores, and remain amongst Chopin’s most popular and well-known pieces.

Other notable composers of Preludes were of course Debussy and Rachmaninov, as well as Olivier Messaien, whose Huit Preludes hark back to Debussy in atmosphere and titles, but also look forward to his later piano music in their colourful harmonies and unusual chords. Shostakovich followed both Bach’s and Chopin’s models by writing sets of Preludes and Fugues and Preludes, and Nikolai Kapustin has written 24 Preludes in Jazz Style, Op 53, and a set of Preludes and Fugues. It seems the genre is alive and well.

Scriabin wrote some 85 Preludes, and his Op 11 set (1896) follow Chopin’s in their organisation (cycling through all the major and minor keys) and even make direct reference to Chopin’s music. Indeed, such is their closeness to Chopin’s model in style, texture and harmonies, many could easily be mistaken for Chopin’s own music. Some appear to “borrow” directly from Chopin – one opens with the unmistakable motif of the Marche Funebre from Chopin’s B-flat minor Piano Sonata – while others seem more akin to Chopin’s Études in their technical challenges and sparkling passagework. The Opp 11, 13, 15, 16 and 17 are sometimes called The Travel Preludes, though they were not explicitly a travelogue by the composer; rather examples of how his travels around Europe allowed him to absorb different musical styles. (It is easy to forget, given Russia’s turbulent history in the 20th century, that at the end of the 19th century, the country was a major player in western European culture.) These Opuses also demonstrate how rapidly Scriabin’s musical style was developing at that time. The later Preludes are more redolent of Scriabin’s piano sonatas and show the influence of French music in their sensuous colourful harmonies and lush textures. All share one distinct characteristic: they are, in true Prelude style, short works, some so fleeting they last barely a minute.

In our house concert, Tony presented the Opus 11 set in the first half of the concert, and the Opp 13, 15, 16 and 17 in the second. As my husband commented afterwards, what was so charming about this programme, was that one was able to enjoy a huge variety of music in one sitting, and the programme was sufficiently involved not to require any additional material, such as an Etude or other short work.

Anthony Hewitt performs Scriabin’s Preludes at the OSO Arts Centre, Barnes, on Tuesday 18th March. Further details here. He will also be recording the complete Preludes of Scriabin, for release in 2015, the centenary of the composer’s death.

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Who or what inspired you to take up piano, and make it your career? 

I think it was the piano itself that initially inspired me to learn music.  I was fortunate to live in a household with a piano, though my parents didn’t play, nor did they listen to any classical music.  But I sat at the piano and played and concentrated and soaked everything up.  As I went along I discovered great music and by the time I was in my mid-teens I really didn’t want to do anything else but continue discovering the world of music and sharing it with people.

Who or what were the most important influences on your musical life and career? 

Leah Horwitz – my teacher for seven intense years in Brisbane, from the age of 14.  She has continued to be a mentor to me and we talk regularly about repertoire ideas, forward planning and goal-setting etc.  She has been inspirational and time and time again she helps me to play better by “digging deeper” into the music and into myself to find “more to give” (her phrases).

What have been the greatest challenges of your career so far? 

I think the greatest challenge is the challenge that composers set for us.  Trying to understand and recreate their music for new audiences is more than one life’s work.  Other more mundane challenges include finding work, not becoming overwhelmed by the amount of work or by too many options, balancing practice with administrative work and other activities that feed my creativity, and keeping going on a daily basis whether or not one is motivated or inspired at that particular moment.

Which performance/recordings are you most proud of?  

Possibly the performance that I’m most proud of (that has been recorded for people to hear) is the Schumann Quintet I performed with the Brentano String Quartet at the 2013 Van Cliburn International Piano Competition.  You can watch it here:

Which particular works do you think you play best? 

I think probably Beethoven, Chopin, Schumann and Brahms, although I also love Bach and French repertoire.  In my opinion Mozart and Schubert are the most unforgiving but are incredibly rewarding and I do hope that I play their works well too!

How do you make your repertoire choices from season to season? 

I usually try to include “something old, something new” – so a combination of works that are comfortable in my repertoire with some new pieces.  I usually perform a broad range of repertoire in my recitals rather than showcasing just one composer or period – although I have successfully played all-Chopin recitals which have been well-received.  Sometimes an overall view is necessary and I try to fill in some gaps in my repertoire.  For instance I am working on adding some French repertoire (Chabrier, Dukas, Poulenc) and am delving into the world of Scriabin.  I think one of my strengths is Brahms, and so I want to start exploring his music more thoroughly.  I am learning both concertos for when the opportunity arises.

Do you have a favourite concert venue to perform in and why? 

For me the venue is less important than the audience vibe and the capabilities of the piano.  Of course it is nice to have a favourable acoustic, but usually what I remember most is the enthusiasm of the audience.  Two recent performances that come to mind are the Two Moors Festival in Somerset, and the Bangalow Music Festival in NSW, both of which have very eager dedicated audiences – their attentiveness and enjoyment helps me to play better!

Favourite pieces to perform? Listen to? 

To perform, I would say one of the most satisfying pieces for me is the Chopin B minor Sonata.  It feels like everything has been said, it is intensely personal as well as epic, and as always with Chopin it feels great to play on the instrument.

To listen to, I love Mozart. He cleanses and re-orders my brain, feeds my soul and makes me want to sing and dance (which I frequently do!).  I think my favourite is the ‘Jupiter’ Symphony – it gives me faith in humanity.

Who are your favourite musicians? 

I have so many musicians on my favourites list, and the list just keeps growing.  If I were to pick just two of my favourite pianists they would probably be Artur Rubinstein and Geza Anda.  I admire people who use music as a platform for increasing awareness about important issues, and in this instance I think Daniel Barenboim is an impressive role-model.  Conductors – probably Kleiber and Bernstein, and from the string world – Kreisler.  Musicians who communicate generously and joyously, and are at once true to the music and to themselves.  But really there are just so many great musicians, past and present.

What is your most memorable concert experience? 

My most memorable concert experience would be performing in the Leeds Town Hall with the Hallé Orchestra and Sir Mark Elder, for the final round of the 2012 Leeds International Piano Competition.  I played Beethoven’s ‘Emperor’ Concerto and it was broadcast on BBC TV and radio.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

It has to be done for the music.  If you have something to say – say it with conviction and find people who want to hear it.  The usual – don’t do it unless you absolutely have to do it and you couldn’t imagine doing anything else.  But at the same time, keep playing even if you can’t have a career – play for yourself for pleasure.  Engage audiences.

What are you working on at the moment? 

On 27th January I am playing a Wigmore Hall recital and so I am working intensively on that programme:  Beethoven Two Rondos Op. 51, Sonata Op. 101, and Schumann Symphonic Etudes Op. 13.

What is your idea of perfect happiness? 

I find happiness comes from sharing and giving – from working towards a shared goal,  from recognising that we are part of a community with responsibilities to each other, not from personal gain or possessions.  Perfect happiness is focussing on someone else’s happiness.  Which is a hell of a lot easier said than done.

What do you enjoy doing most? 

When I’m not playing the piano I love to sing and whistle and dance.  I practice yoga, and within that I particularly like doing inversions (headstands, handstands) and backbends.  Train travel is something I look forward to and enjoy very much – when the train is fairly quiet, that is.  I like to balance time with friends with periods of solitude and silence.

 

Australian pianist Jayson Gillham was a finalist in the 2012 Leeds International Piano Competition and a semi-finalist in the 2013 Van Cliburn International Competition

Jayson Gillham’s full biography and website