A series of concerts with British pianist James Lisney, exploring the late piano music of Haydn, Beethoven, Schubert and Chopin

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What is ‘Late Style’? It’s a question that has preoccupied writers and thinkers, from Theodor Adorno, who coined the term in relation to Beethoven’s late music, to Edward Said, whose book ‘On Late Style’ explores the output of composer, artists and writers in the later years of their creative lives.

We expect the late works of composers (and writers and artists) to be concerned with valedictory thoughts, of resolution and acceptance, that age and ill-health bring a state of serenity or resignation. Yet many composers’  late work is often intransigent, challenging and contradictory, inventive and transcendent.

Late style is also associated with an aesthetic mastery and a distillation of what matters most, as if an awareness that the end may be near has the effect of really concentrating the artistic focus. Beethoven, for example, reveals in his late piano sonatas an intense heroism, otherworldliness and non-conformity. For Adorno, Beethoven’s late works are an emphatic and triumphant assertion of his refusal to resolve life’s exigencies peacefully, a view which Edward Said endorses, regarding it as a strength in its own right, rather than a negative factor in Beethoven’s late music.

For Schubert and Chopin, both of whom died young (by today’s standards), lateness is relative, almost a philosophical construct. The “late” works of these composers demonstrate that lateness is not just about physical or creative maturity, but also an attitude of mind. In their music there is the sense of life lived with intensity, that time is finite and there is much more to say, and this seems to have focused these composers’ imaginations in a very specific way.

‘Endgame’, a new series of concerts by British pianist James Lisney, at venues in the UK, the Netherlands, Germany and the Czech Republic, explores the notion of Late Style through the lens of four composers who are particularly close to Lisney’s heart – Haydn, Beethoven, Schubert and Chopin. These recitals include some of the best-loved, most intriguing and satisfying music of these composers’ late output.

Endgame programme 1:

30 September – 1901 Arts Club, London

1 October – Pittville Pump Room, Cheltenham

13 October – St George’s, Bristol

16 October – West Road Concert Hall, Cambridge

Full details on James Lisney’s website

Meet the Artist interview with James Lisney

 

I have nothing but praise for James Lisney`s piano playing; he combines velvet touch and wide range of colour with complete understanding of phrasing and dynamic shading. This is someone who can really give the mechanical box of wires and wood a singing soul.

The Telegraph

 

Igor Levit, Wigmore Hall, 13 June 2017

Beethoven Piano Sonatas, Opp 109, 110 and 111

I first heard Igor Levit in this sonata triptych back in 2013. It seemed a bold programme choice for a young man, yet Levit’s assertion that this music was “written to be played” makes perfect sense and is a view I’m sure Beethoven would concur with. Then I felt there was room for development and maturity, important attributes for any young artist in the spring of their professional career. Now I hear an artist who has lived with – and in – the music and has crystallised his own view about it.

He crouches over the piano like an animal coiled for attack, yet the sound in those opening bars of the Sonata in E major, Op.109, was so delicate, so lyrically ethereal, it felt as if the music was emerging from some mystical outer firmament, entirely appropriate for these sonatas which find Beethoven in profoundly philosophical mood. It is music which speaks of shared values and what it is to be a sentient, thinking human being; it “puts us in touch with something we know about ourselves that we might otherwise struggle to find words to describe” (Paul Lewis). The Prestissimo second movement, urgent and anxious in its tempo and atmosphere emphasised by some ominous bass figures, contained Levit’s trademark “shock and awe” stamping fortes and fortissimos, only to find him and the music back in meditative mood for the theme and variations, which reprised the serenity of the opening, the theme spare and prayer-like with more of that wonderfully delicate shading at the quietest end of the dynamic spectrum that he does so well.

Read my full review here

 

 

 

(photo ©Igor Levit)