‘….Petits Concerts’, a series of convivial recitals at the 1901 Arts Club, an intimate salon style venue just a stone’s throw from Waterloo Station, returns for a second season, commencing on 30th September.

Inspired by concerts given by Charles-Valentin Alkan at the Erard showroom in Paris in the 1870s, and hosted by concert pianist James Lisney, ….Petits Concerts brings musicians together in the spirit of “music with friends and amongst friends” in a setting which harks back to the 19th-century European cultural salon. Proceeds from each concert will be donated to music/education charities.

This second season opens with a concert by James Lisney exploring the notion of ‘Late Style’ through the lens of late piano music by four composers who are particularly close to his heart – Haydn, Beethoven, Schubert and Chopin. Proceeds from the concert will be donated to The Amber Trust, a charity which helps blind and partially sighted children across the UK who have a talent or love for music, of which James Lisney is a patron.

Later concerts in the series include performances by James Lisney with his daughters Emma and Joy in piano trios by Beethoven, and on 11 November the Lisneys are joined by clarinettist Michael Whight for Olivier Messiaen’s monumental and profound Quartet for the End of Time.

Full details and tickets

Previous concerts in the series have proved very popular and as this is a small venue, early booking is recommended


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From 2pm on the afternoon of each concert James Lisney will be giving piano lessons at the 1901 Arts Club from 2pm. Lessons cost £100 for 90 mins with proceeds going to charity. For further information or to book a lesson, contact James Lisney

 

 

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

Endgame logo


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.

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

 

The accepted notion is that age confers a spirit of reconciliation and serenity on late works

Edward Said, ‘On Late Style’

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 artists, writers and composers whose late work is often intransigent and contradictory.

Although not always concerned with valedictory thoughts, 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 otherworldliness and non-conformity. For Adorno, Beethoven’s last 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.

In a more long-lived composer such as Brahms, the combination of accumulated wisdom and the sense that time is limited produces music which is impeccably wrought and introspective, yet emotionally unleashed. The late piano works which form Brahms’ Opp 117, 118 and 119 contain serenity and vulnerability, and an acceptance that the end is near, yet these works are not valedictory. In these late piano works, there is greater spaciousness, more freedom of expression, and the sense of a composer who no longer has anything to prove.

Meanwhile, for Schubert and Schumann, who both 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 maturity but also an attitude of mind. In their music there is the sense of a life lived with intensity, that time is finite, and this seems to have focused composers’ imaginations in a very specific way.

In the Geistervariationen (Ghost Variations), composed in February 1854, just weeks before Robert Schumann’s irretrievable mental breakdown and his committal to a lunatic asylum, we find a composer who has turned inward, the “Eusebius” (sensitive, introverted) side of his personality very much to the fore. The music is poignantly pared down – a simple chorale-like theme opens the piece – but also full of intimate tenderness and expression. In the final variation, the theme dissolves into the textures of the music and simply fades away at the end.

Schubert’s last works, in contrast, suggest an “incompleteness”, as if he still had much more to say. The final year of Schubert’s life was one of extraordinary productivity, marked by increasing public acclaim and declining health, and the wealth of music he produced, including the two sets of Impromptus and the final three piano sonatas, displays a very high level of artistic maturity. Freed from the shadow of Beethoven, who died in 1827 and whom Schubert revered, the last three piano sonatas in particular reveal a remarkable assuredness in Schubert’s writing, in their structural organization and expansiveness, and the use of cyclic motifs to create a sense of “belonging” between the individual movements and across the three sonatas as a whole.

If ‘Winterreise’ is heartbreak, a study in unrelieved sorrow, the final three sonatas reveal, and revel in all of life: while the C minor Sonata D958 is the most serious of the triptych, its companions are never unremittingly melancholy nor heavy, but rather intoxicatingly bittersweet, nostalgic, and life-affirming.

Who or what inspired you to take up the piano and pursue a career in music?

I have two musician parents and had a musician grandmother. I grew up in a house where music was quite literally everywhere, and I think that was probably the single most important influencing factor. I really do believe in this idea that music is a language and you feel comfortable in the language that you hear from the beginning of life. I heard music from the beginning of my life, and I think I just wanted to speak that language

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

You go through a musical life and you’re exposed to so many people and it’s not easy to narrow this down. But probably studying with Leon Fleischer was the most formative experience in my life, beyond growing up in the house I grew up in.

I had grown up hearing his recordings long before I met him, and he was a huge influence before I even knew what he looked like. And then I met him and spent four years studying with him. He’s one of those rare musicians who is equally eloquent as a player as a teacher – a musical philosopher. Hearing music described by him and seeing the unbelievable integrity with which he approached music, I think that really marked me.

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

It’s all hard! I don’t mean that in a negative way, but basically you spend every day touching these masterpieces but you never come to some end point where you can say “that is just the way I want it” because you’re always looking for more in them. That is exactly what is so wonderful about them too, but it is simultaneously what is very difficult. So I guess maybe the challenge is finding a balance between being very driven and determined and ambitious (and I don’t mean ambitious in a career sense), but to also take a real joy in playing these works.

There’s a wonderful quote from Schnabel that over the years he taught, relatively many students who could convey sorrow in their music making, but only a couple in all of those years could really convey joy. It’s a huge part of music’s expressive vocabulary and hugely important not to lose sight of that.

Which particular works do you think you perform best?

I have certain love for Schumann’s music. Not that I love it more than other pieces, but I feel a kind of closeness to it, that it speaks to and for me in a way that it is different from other works.

And of course I feel unbelievably pulled towards Beethoven – who couldn’t be?! – so I can’t say I have any real favourites. But this is the music that is most important to me in my life at the moment.

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

The first thing is that I have to love the music that I play. I have to really want to play it. And then I start thinking about recital programmes, how a good programme would be to put together. What programmes work well, how much repertoire can I handle in a season without becoming overwhelmed, how much do I need to feel there’s enough variety

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

I have many. I have had a very long, very very happy association with the Wigmore Hall, which I think is a really very special place. I love playing at the Concertgebouw, in the big and small halls. I’ve lived in NYC for 16 years now so Carnegie Hall has a special resonance for me as well.

I played at Milton Court (London) in November (2016) and it was a fantastic pleasure. This is another small-ish hall in London which is totally different in vibe, has a different audience, with an excellent acoustic

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

The first thing is that as you work – and as a young musician you have to work hard – you must never lose sight of what made you fall in love with music in the first place. You have to find a way, and it’s a question of hours where you really strive to improve, but you never move away from that aspect of music which drew you to it. You should never let the work become a distraction or be dutiful. That I think is incredibly important and not easy to achieve.

I think the other main thing that you have an incredibly profound responsibility to try to understand the mentality of the composer. It’s very difficult and you will never do it perfectly: notation is so abstract, but that does not absolve you of the responsibility of trying. You have to really, really try to look for what this person is trying to communicate – if you choose to play music which is not your own music, you have a responsibility to do more than just play the notes.

How do you feel a musician should approach this?

I think a close interrogation of the music is necessary and it takes many forms. Even though in Beethoven piece to piece he changes enormously, you should not play the piano sonatas without knowing the quartets and symphonies. I really believe that

Understanding structure, the way the music is put together, the way it functions psychologically is unbelievably important – I don’t think it’s that important for the audience, but it’s especially important for anyone who wants to play music. This is abstract music, not a literal reflection of the life of the composer, but I do think especially when talking of the music of the past, because the world has changed so much, trying to understand the world these composers lived in – and it will only get you so far – remains a real responsibility.

Talking specifically of Schubert’s penultimate piano sonata, D959 (which Jonathan Biss will perform at his concert in London on 2nd May 2017) do you feel the slow movement of this sonata is a reflection of the composer’s mental and physical state?

All this is intensely subjective, but I would say yes. When I play the second movement I really do think it’s a composed hallucination. There’s no other piece by Schubert or anyone else that is like it. The are little moments in his earlier music, but in the late music alongside the lyricism, which is so incredibly beautiful, there is this sense of real terror, and I think when you know this is a person who was months away from death, it’s very difficult not to think there is a connection [in the second movement]. The warmth of the finale is really astonishing in contrast to that.

Tell me a little more about your Late Style project. What drew you to this examination of composers’ late music?

As with all my programming this is music which is important to me. Beyond that, it really has interested me that there are so many composers who were already writing great music but still at the end of their lives moved in new directions. For example, with Beethoven because the late works are so special, had he stopped at Op.80, we’d still say he’s one of the greatest, but he still found a new language in later life. This is also true of Schubert, Schumann, Brahms, and figures as diverse as Britten, Bartok, Shostakovich and Gesualdo. I am just fascinated by this idea that the combination of accumulated wisdom and the sense that time is finite, limited, seemed to have focussed so many composers’ imaginations in a very specific way. Either age and/or coming to the end of life it seems you reach the point where you just say what you need to say, you don’t worry about how it will be received. All of these works are very different but I think the link is that these people have the freedom to say what they need to say.

Jonathan Biss performs late works by Schumann, Chopin, Kurtag and Brahms at Milton Court on 27 March, and Schubert’s Piano Sonata in A, D959, and Schwanengesang, with Mark Padmore, on 2 May. Further information here

(Interview date 28 January 2017)

Jonathan Biss’ biography

Photo: Benjamin Ealovega