Guest review by Magdalena Marszalek
Programme:
J.S. Bach – French Suite in E, BWV 817
Schubert – Impromptus, D 935
Mozart – Rondo in a, KV 511
Beethoven – Sonata no. 32 in c, op. 111
Murray Perahia, piano
Concertgebouw, Amsterdam
On June 18 Amsterdam was hit by a heat wave that brought everyone out into the parks, to enjoy the summery day, the sun shining in a perfect, cloudless sky. For me, it was a prelude to an evening concert in the Concertgebouw, which concluded the 2016/2017 Meesterpianisten (Master pianist) season. And what a cherry on the top that was! Maestro Murray Perahia presented a wonderful program consisting of Bach’s Sixth French Suite in E major, followed by Impromptus by Schubert (op. posth. 142) and Mozart’s Rondo in a minor K. 511, the evening closing with Beethoven’s last Sonata in c minor, op. 111.
The artist briskly descended the famous Concertgebouw steps to warm applause but, completely focused on the piano, immediately started with the music. From the very first notes I could not stop wondering how such a mature musician could play with such freshness, youthfulness and curiosity. “Jeunesse” was the word that immediately came to mind, while listening to Perahia cruising gently through the movements of the suite. The clue that this was in fact not a 20-year-old piano enthusiast genuinely having much fun and pleasure at the keyboard was his deep understanding and connection with the instrument. This is a very intimate relationship, one that can only be built over many years….. It was proven that evening three more times, because the friendship that Murray Perahia developed with the piano allowed him a marvellous command of sound and colour, his touch adjusting to suit each piece’s mood and period, light and shade.
His Bach was clear, but not crystalline. Instead of bright crystals falling from the keyboard, I could hear gleaming pearls that fitted perfectly with the sublime elegance of the Bach’s writing. A thundering ovation allowed the artist catch a breath and he came back with the Impromptus by Schubert. The party continued: of course, the joy in the playing was toned down, giving space for other, deeper emotions. The first Impromptu in f minor was so unbelievably cantabile, I am almost certain that no one can make the piano sings in the way Murray Perahia does. The second he played majestically, with much grace, showcasing the full dynamic range of the Steinway grand, from the most sublime, yet somehow bold and confident pianissimos to powerful, full-bodied, but not ostentatious fortissimos. In the following Impromptu, an Andante and Variations, the artist hadthe opportunity to let his boyish nature come forward again. It was incredible how this carefree child-like spirit was released in the music from the fingers of a pianist, who has not only incomparable experience, but also incredibly deep-rooted musical knowledge. One might suspect that too much wisdom could exert weight on the performance, but this was not the case. This 70-year-old Maestro knows how to take care of his inner child and regularly releases it to influence his music. And for sure, he still has it in his fingers, which he demonstrated in impeccably performed fourth Impromptu in f minor.
After the interval, we heard Mozart’s Rondo in a minor. It was the least interesting piece of the evening; however, I let myself sink deeply into the poetic melodic flow, as a preparation for the Beethoven’s final Sonata. I still had in mind the transcendental rendition of Grigory Sokolov, from just over a month ago, so I was curious to hear how Perahia’s version would differ. And indeed, it differed a lot! It was not as pensive and intimate as Sokolov’s, but also not as dramatic as other pianists’ renditions. There was so much light and brightness in Perahia’s playing, which put a unique perspective on this rather dark piece. The mood of the first part of the Sonata varied significantly from all the previous pieces in the programme: the joyful boyishness was gone, and we could see and hear a more serious pianist – serious, but without heaviness. I really appreciated his gestures when he struck the accentuated chords at the beginning of the movement. He flung his arms down violently and with what would look like cheap trick for many showmen in this case evoked an almost a vision of the sound that was attached to his fingers and flung out to the hall, to resonate for a moment before dying. Perahia played the dark and tumultuous movement without a grain of aggression. The recurring motif A♭-C-G was executed clearly, boldly, but not overly dramatic and without overpowering the rest of music, which in my opinion made it ring even stronger. In the second movement, the artist brought back some of the youthful charm, however, this time he did not let it dominate the music. The dark and serious character of the piece was maintained. I loved how he gradually changed the tone of the piano, growing darker and darker, and approching the end, revealing more and more passion. The steadily flourishing expressiveness was evident with the growing force of the pedal. With the trills in high registers, I noticed a beautiful acoustic effect of the concert hall – in addition to the sound produced by the strings one could hear a shy echo of the hammers, which sounded a little like raindrops falling on the roof, enriching the overall experience.
I was grateful to everyone in the audience to allow the last sound to fill the hall and gracefully die before the noisy, very long standing ovation begun. We were not blessed with any encore – but would there be a better way to close such an emotional evening and, in fact, the whole successful Meesterpianisten season?
The Cross-Eyed Pianist 