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‘Tis the season for “top 10” and “best of” the year lists (indeed, such is the popularity of these lists that it would appear that every music critic at The Guardian has issued their own Top 10 Concert/Operas of 2015).

Once again, I have enjoyed a busy year of concerts, reviewing 21 concerts in London for Bachtrack.com, plus various concerts at St John’s Smith Square, the 1901 Arts Club, St Mary’s Perivale and my local music society in Teddington.

“Hits” of 2015 include all five Prokofiev Piano Concertos in a single concert at the Proms, a musical marathon for the orchestra (LSO) and audience alike, with particularly fine performances by Daniil Trifonov and Arcadi Volodos. Other stand out Proms were Sibelius first and second symphonies, Thierry Escaich playing the Albert Hall organ, and Bernard Haitink conducting the Chamber Orchestra of Europe in Mozart’s Piano Concert K488, with Maria Joao Pires as soloist (an exquisitely measured and elegant performance), and Schubert’s ‘Great’ C Major Symphony, D944. My enjoyment of many of the Proms I attended this year was undoubtedly enhanced by my concert companions.

At the Wigmore, Garrick Ohlsson’s Skryabin Focus residency proved enlightening and insightful, with Ohlsson revealing himself as a sensitive and colouful interpreter of this curious, sensuous and often totally over the top music. This was definitely an opportunity to surrender oneself to the composer’s unique soundworld in the hands of a most capable and modest pianist.

Another revealing concert was given by Antonii Baryshevskyi, winner of the Arthur Rubinstein International Piano Master Competition. He presented an engaging programme which made interesting links between Scarlatti and Ligeti, together with music by Chopin, Messiaen and Schumann which revealed Baryshevskyi to be a pianist at home with a wide variety of repertoire and styles.

Maria Joao Pires gave a delightfully intimate and atmospheric joint concert with one of her protegés, Pavel Kolesnikov, in music by Beethoven, Schubert and Schumann (both solo works and music for piano 4 hands).

One of the most eagerly anticipated concerts of 2015 – and not necessarily for all the right reasons – was Ivo Pogorelich’s “this is not a comeback” concert at the Festival Hall in February. It was a curious curate’s egg of an evening, with some very uneven, eccentric and clumsy playing combined with a blistering and masterful rendition of the Brahms Paganini Variations. The critics were universally damning, yet I felt rather sad that Pogorelich had been submitted to such vitriol. Whatever one may think about the quality of his playing, together with some very strange interaction with the page turner, it was undoubtedly an “interesting” concert, and somewhat refreshing to hear such personal piano playing as opposed to the “louder faster” school of pianism one encounters rather too often these days…..

Talking of which, against my better judgement I decided to hear Lang Lang at the Royal Albert Hall, and for me the first time I’d heard the Chinese poster boy pianist since 2002. There were flashes of insight and sensitivity, particularly in the slow movement of the Bach Italian Concerto, but the Chopin Scherzi were a vehicle for his trademark flashy, overblown virtuosity, the subtlety of Chopin’s writing lost in a whirlwind of noise and velocity. ‘The Seasons’ by Tchaikovsky was simply the wrong repertoire for the size of venue, but here there were also moments of beauty and hints of a more mature approach.

Which leads me to my “miss” of 2015, the much-lauded young Polish Canadian pianist Jan Lisiecki who played much by Mozart, Mendelssohn, Liszt and Chopin’s Opus 25 Etudes at the Wigmore Hall in October. I had read much about Lisiecki, very fulsome and often gushing praise and I was curious to hear him live. Sadly, most of his concert was a display of youthful arrogance and immaturity which manifested itself in some very ugly and unsubtle playing. Jan is only 20 and he has plenty of time to develop as an artist – and I sincerely hope he does.

In addition, I’ve also enjoyed fine performances this year by Jeremy Denk, Murray Perahia, Stephen Hough (including the premiere of his new Piano Sonata), Marc-André Hamelin, Yevgeny Sudbin, François-Frédéric Guy, Peter Donohoe, Steven Osborne and Warren Mailley-Smith. 2016 seems set to begin on a high with concerts at the Wigmore by Pavel Kolesnikov, Steven Osborne, Piotr Anderszewski, Denis Kozukhin, and the continuation of Warren Mailley-Smith’s survey of Chopin’s complete piano music at St John’s Smith Square, a lovely venue for piano music. Further ahead in 2016, I am very much looking forward to Andras Schiff’s ‘Last Sonatas’ programmes at the Wigmore, exploring the final three sonatas of Haydn, Mozart, Beethoven and Schubert, and Daniil Trifonov in June. There is much to enjoy in 2016 and I think my concert diary is likely to be as busy as it has been this year.

Link to all my Bachtrack reviews and articles

Wigmore Hall

International Piano Series

St John’s Smith Square

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(photo: Fran Kaufman)

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.

Read my full review here

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I wanted to write a further post in response to Dame Fanny Waterman’s piece in ‘The Observer’ in which she warns of a crisis in piano playing in the UK and blames the popularity of digital keyboards and electric pianos for the fact that UK performers are failing to compete internationally. (Read my initial response to Dame Fanny here.)

I don’t want to focus too much on the issue of competitions, which remains an area of heated debate amongst teachers, students, adjudicators and music journalists, but I would just like to quote some statistics which a colleague flagged up on Facebook in response to Dame Fanny’s article:

……a quick glance over the Leeds previous prizewinners [reveals that] of 95 names only 5 have sustained a major international career after the initial flurry of dates, only 2 of those were first prize winners anyway, and the most recent competitor from the group took part in 1987! Perhaps our British pianists have realised that there are better and more creative ways to create a career in the 21st century

Competitions should not be seen as the be all and end all, and I think we all need to get past this holy grail of “The Three C’s” – Conservatoire Competition Concerto.

In my experience, as a piano teacher and the co-organiser of a group for adult amateur pianists, I see no signs of a decline in interest in piano playing here in the UK. Far from it. I receive enquiries about lessons every week, and I know piano teaching colleagues in my own area of SW London and beyond would say the same. Most of us have healthy waiting lists. The piano remains a popular first instrument for children to learn because it is relatively easy to make a nice sound from the very first note. The members of my piano group range from people who have played the piano since childhood, returners, and adult learners of all levels. Some members are very fine players indeed, who are regular performers but who have chosen a different career path to music. What unites us is a shared passion for the piano and its literature.

In addition to piano groups, piano courses are becoming increasingly popular, offering adults and young people the opportunity to study with acclaimed performing artists and teachers. There are courses to suit all abilities and tastes from “piano retreats” in the French countryside, with five-star accommodation and wonderful food and the opportunity to study with an international artist, to weekend courses for advanced pianists (professional and amateur), courses focussing on contemporary music, accompanying, chamber music, jazz and much more.

Then there are festivals where children and adults can compete, receive constructive feedback from skilled adjudicators and enjoy hearing other people’s playing and repertoire.

The UK is host to many fine piano concerts throughout the year and attracts top-class British and international artists. Alongside concerts in mainstream venues, there are myriad other opportunities to hear piano music – but top international artists and also exciting young and emerging artists: in stately homes, churches, art galleries and museums, small regional arts centres, people’s homes, out doors….. These initiatives bring piano and other classical music closer to the audience and make the music and concert experience more accessible and intimate.

The piano is very much alive in the UK – let’s keep it that way.

Pianist and writer Susan Tomes has made an interesting and thoughtful contribution to this debate – read her article

 

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grahamfitchWho or what inspired you to take up the piano and make it your career? 

I was destined to read modern languages at Oxbridge but my heart wasn’t really in it. The piano was an all-consuming passion by my mid teens, and I’m afraid once the blinkers went on I couldn’t see myself being happy doing anything else.

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

Apart from my wonderful teachers Stephen Savage, Peter Wallfisch and Nina Svetlanova (each of whom gave me different parts of the puzzle), I was very influenced by András Schiff. Not only his playing (which blew me away the first time I heard it) but having the privilege of studying with him at Dartington in 1982 and then privately afterwards. Another profound influence was Leon Fleisher’s weekly piano class during my Peabody year, studying Chopin with Ann Schein and having some marvelous lessons with Julian Martin. Playing chamber music with some amazing string players and also playing the song repertoire have made me a more rounded musician than if I had just played solo.

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

I think juggling the various elements of what I do – playing, teaching, writing, adjudicating and now in my role as a principal tutor on the Piano Teachers’ Course (EPTA) UK. There never seems to be enough time to practise!

Which particular works/composers do you think you play best? 

I have played a wide variety of styles in my time, from the French and German baroque through to contemporary music. If push comes to shove I would have to say I identify most with the mainstream Classical and Romantic repertoire. I can’t imagine a world without Bach, Haydn, Mozart, Beethoven, Schubert, Schumann, Chopin – to name but a few.

What is your most memorable concert experience? 

If you mean as a listener, it would have to be Schiff’s Goldbergs at Dartington in 1982. One of the most memorable of my own would probably be playing the same work in Perth, Australia in the late 90’s – in front of an audience of pianists.

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

A love of music, an appreciation of how music is built and how to communicate this in your playing. Aspiring musicians need a heck of a lot of discipline if they are going to amount to anything, but so often they don’t really know how to work. Part of my mission seems to be helping them learn how to practise.

Your ‘Notes & Notes’ recital on 14th September includes works by J S Bach and Haydn. Tell us a little more about why you selected these particular composers and works? 

I chose to play these particular works because I think Bach and Haydn go very well together. The B flat Partita and the G major French Suite are very often played, and I find I often teach them. The Haydn C major is such an inventive work – I just love the humour in it.

Why perform and talk about the music? How do you think this approach illuminates the music and composers for the audience? 

There is a growing trend for performers to talk about music, and to engage with their audience on a more personal and intimate level. If the venue is small enough, it can be a great way of enhancing the listening by offering what are basically spoken programme notes – and maybe some personal observations and anecdotes.

Graham Fitch’s ‘Notes&Notes’ recital is on Sunday 14th September 2014 at 3pm at Craxton Studios, Hampstead, north London. After the concert, the audience is invited to join Graham for a cream tea and a chance to socialise with other music lovers. Further information and tickets here. This concert marks the launch of the 2014/15 season of the innovative and popular South London Concert Series.

Graham Fitch, now based in London, maintains an international career not only as a pianist, but also as a teacher, adjudicator and writer. He has been appointed to the piano staff at the Royal Welsh College of Music and Drama, and runs private teaching studios in South West London, and the West End of London.

A published author, Graham has written several articles on aspects of piano playing and musical style. He has also produced a generation of teachers through his influence as a teacher. He is a regular contributor to Pianist Magazine, and is the author of a very successful blog, http://practisingthepiano.com/

www.grahamfitch.com