As befits an up-and-coming young artist who draws inspiration from James Bond not just in his music but also his image, pianist Emmanuel Vass’s debut at London’s Steinway Hall was stylish and suave. And the title of Emmanuel’s concert tour and debut CD, ‘From Bach to Bond’, reflected his varied musical tastes and repertoire.
He opened the “rush hour” recital (so-called because it started at 6pm) with Morton Gould’s Boogie Woogie Etude (1943), a work replete with classic foot-tapping boogie-woogie rhythms offset by traditional etude elements more commonly found in the music of Chopin and Liszt. The piece was a great opener, played with wit and energy. Placing it before Bach’s Italian Concerto was inspired: to hear Bach after Boogie-Woogie highlighted all the “jazz” idioms present in Bach’s music, some 300 years before the genre came to be – syncopation, counterpoint, and dynamic diversity. This was a lively and colourful account. The slow movement, which bears some relation to the Adagio of the Concerto in D minor after Marcello, was a study in restrained elegance. I was pleased too, that Emmanuel opted for a more reined in tempo in the final Presto, allowing us to enjoy all the elements of this movement. The entire concerto was convincing and proof that Emmanuel is equally at home in this type of repertoire.
The first movement of Beethoven’s Sonata Op 27 No. 2, the ‘Moonlight’, was pensive and mysterious, while the middle movement had a pleasing rusticity. There were a few anxious moments in the final movement, but despite this a strong sense of forward motion and purpose was retained.
Chopin’s Op 27 Nocturnes followed, with some sensitive handling of the melodic lines, the subtle shifts in mood and romantic sweep of these works. Gershwin’s I Got Rhythm reprised the humour and swagger of the Boogie-Woogie Etude. And another Etude closed the concert, the James Bond Concert Etude, Emmanuel’s own arrangement of classic Bond film themes, given a Lisztian treatment with vertiginous cadenzas and sparkling fiorituras. It could have been cheesey, but in Emmanuel’s hands it was classy and clever, and looks set to become a sophisticated virtuoso showpiece or encore.
Emmanuel’s debut CD includes more from his wide-ranging repertoire, including a sensuous Malaguena by Leuona, works by Debussy, and another of Emmanuel’s own arrangements, Bohemian Rhapsody by Queen, all stylishly rendered.
Further concerts in the ‘From Bach to Bond’ tour:
Friday 3rd May – St. Saviourgate Chapel, York YO1 8NQ
Saturday 4th May – St James’s Piccadilly, London W1
Saturday 11th May – Heswall Hall, the Wirral, CH60 0AF
My Meet the Artist interview with Emmanuel Vass
James Bond Concert Etude for solo piano – Barry/Fleming, arr. Vass