My final visit to Wigmore Hall this season (the hall is closed during August) was to hear one of my piano heroes, Canadian pianist and composer Marc-Andre Hamelin. Each of his London concerts I’ve attended has offered coruscating technical facility combined with musical insight and the impression of a thoughtful musician who is very connected to the music he plays. This is in part created through his economy of physical movement when he plays. There are no unnecessary gestures in Hamelin’s playing, no pianistic histrionics or flashy pyrotechnics (except in the music itself), and because he never gets in the way of the music, his performances are concentrated and intense.
This concert was no exception, its intensity made even greater by the inclusion of Chopin’s Piano Sonata No. 2 in B flat minor, the “Funeral March”, with its third movement theme made so infamous by its associations with the deaths of Russian Communist leaders, and its extraordinary and ghostly finale.
The London concert scene is alive with pianists and piano-talk at the moment. Hard on the heels of Daniel Barenboim’s acclaimed survey of Schubert’s completed piano sonatas, performed on a brand new bespoke piano with his name emblazoned across on the fall board, comes Murray Perahia, who like Barenboim is afforded the status of a demi-god, though more for purely musical reasons.
I’ve always admired Perahia. My parents took me to hear him in concert when he was a young man and I was a little girl. His discs of Chopin, Bach and Schubert are my go-to recordings for their musical insight, pianistic prowess and lack of ego. Perahia has worked with some of the finest musicians of the 20th century – Vladimir Horowitz, Pablo Casals, Benjamin Britten, Peter Pears and Clifford Curzon – yet he wears his accolades lightly and one has the sense, when hearing him live or on disc, that he always puts the music first. He is the very model of a modest virtuoso.
Six pianos and six passionately committed pianists: Piano Circus came together to play Steve Reich’s ‘Six Pianos’ back in 1989 and have never looked back. Fast-forward to 2015 and a new generation of pianists make up Piano Circus, still innovating and thrilling audiences with their performances and with over a hundred pieces in their repertoire.
Described as ‘Totally Compelling’ by the Guardian; Piano Circus are one of the world’s leading contemporary music ensembles. They regularly collaborate with film and video makers, theatre and circus performers, dancers and choreographers, and in a variety of educational settings. They’ve recently been seen at the BBC Proms Family Music Intro for Multiple Piano Day (broadcast on bbc Radio 3) and Keyboard Collective Project (Sound Festival, Scotland). They’ve also released seven cds with Decca and now on their own label; the latest release is ‘Skin & Wire’, featuring drummer Bill Bruford.
Known for stunning audiences both visually and musically, they’ve performed throughout the UK and internationally and have gained an enviable reputation for the dynamic rapport they establish with young people in their educational work.
For their 25th Anniversary relaunch concert Piano Circus comes to London’s Bush Hall in Shepherd’s Bush on Thursday 2nd July 2015 to perform works by Steve Reich, Graham Fitkin and premiere two new pieces by Dave Maric (Steve Martland Band and Colin Currie group) and Adrian Sutton (‘War Horse’).
On the centenary of the death of Russian composer Alexander Scriabin, American pianist Garrick Ohlsson concluded his two-concert “Skryabin Focus” at London’s Wigmore Hall with a recital of works which spanned the final two decades of Scriabin’s life.
It is hard to explain exactly what makes Scriabin’s music so compelling: far easier to explain why his music is not for everyone. It is the music of excess, ecstasy, tumult and passion. It is excessive, overripe, decadent, heavily perfumed, languorous and frenzied, lacking in structure and sometimes downright bizarre. The music of extremes, it is hyper everything, and as such it defies description or categorization. Its language is complex, often atonal and frequently almost impenetrable. For some listeners, and artists too, it is this “over-the-top-ness” that is off-putting; for others, myself and my concert companion included, it is this sense of excess and rapture that is so compelling. By his own admission, Garrick Ohlsson is a true Scriabin fan, the result of hearing Sviatoslav Richter perform the Seventh Piano Sonata. Ohlsson’s studies with a Russian teacher enabled him to regard Scriabin as “mainstream repertoire” and the composer’s music remains a mainstay of his repertoire.
For the Wigmore neophyte, I doubt I could have selected a better concert to introduce my companion for the evening to the delights of London’s “sacred shoebox”: Georgian pianist Khatia Buniatishvili dazzled in a highly accomplished performance of music by Mussorgsky’s ‘Pictures at an Exhibition’ and a selection of short virtuosic works by Liszt.
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