Who or what inspired you to pursue a career in music?

Listening to a concert of the 5th Brandenburg Concerto at the Menton Festival in the ‘70s. It really was a shock and it provided the turning point. Pursuing a career in music came about due to a number of circumstances.  As I finished secondary school in 1989, the Russians decided to enter Afghanistan, which strangely affected me deeply.  Dreading a looming third world war, I decided to choose what I loved the most in life: music!

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

I would love to say Gustav Leonhardt or John Eliot Gardiner… but actually I am not someone to hero worship or adore gods. The influences on me are multiple: add to the two names above –  Harnoncourt, Mitropoulos, Christie and Gruberova.

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

Winning the international harpsichord competition in Bruges in 1983… this was very unlikely, considering the programme and how severe the jury was. My other greatest challenge as a conductor came last year conducting Gounod’s Faust with forces I have never had before in répertoire totally new to me and my ensemble Les Talens Lyriques… but I loved it.

Which performances/recordings are you most proud of? 

In terms of pure prestige and distinction –  definitely Mitridate by Mozart with a flashy label and a flashy cast: Bartoli, Florez, Dessay, Piau etc.  In terms of my own personal conviction, Les Nations by Couperin, because he is the composer who speaks most directly to my heart and because the recording just released a few months ago is 99% what I dreamt it would be – refined in spirit and execution.

Which particular works do you think you perform best?

Hmmm! Difficult question… let’s be general and answer opera. I love giving life to human drama. Music, especially sung, can bring an extraordinary intensity to a text. That’s what I love most.

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

I try to balance my career between solo harpsichord, chamber music (because I love to play with my own ensemble), opera for the reasosn above and possibly some sacred music for my soul

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

Not really. I am of course very sensitive to acoustics. Wigmore hall in London, Victoria Hall in Geneva, Concertgebouw in Amsterdam or even the brand new Paris Philharmonie are quite inspiring.

Who are your favourite musicians?

Krystian Zimerman, Isabelle Faust, Christian Gerhaher. Wonderful artists. Very inspiring and very honest (I hate the new tendency of showing off!)

What is your most memorable concert experience?

Bach D minor harpsichord concerto in 1985 during the Bach anniversary with La Petite Bande, the baroque orchestra I loved most at that point. I was 24 and this was a dream!

As a musician, what is your definition of success?

Approach your ideal of sound as close as possible and coax the music you perform with all your soul and body. When it happens, say 80-85%, it’s a big success – people like it, or not!

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

Be honest, serve music with devotion, ignore your ego and remain curious, remain the child you were once. This pure attitude is perhaps what creates a true emotion for oneself and for other people through music

Where would you like to be in 10 years’ time?

In front of my orchestra still performing and making people as happy as I can.

What is your idea of perfect happiness?

Harmony and serenity

What is your most treasured possession?

Love

What is your present state of mind?

Resigned and hoping for better!

Christophe Rousset is the renowned harpsichordist, conductor and founder of the baroque ensemble Les Talens Lyriques, who return to the Wigmore Hall on 21st February in a Venetian programme of music by Monteverdi, during a break from performances of La Divisione del Mondo by the little-known Venetian composer Legrenzi  in Strasbourg.   His latest recordings are Couperin’s Les Nations and Couperin & Moi, both on Aparte.  His next disc of keyboard music by Frescobaldi will be released at the end of March.


Christophe Rousset is a musician and conductor inspired by a passion for opera and the rediscovery of the European musical heritage.

His studies (harpsichord) with Huguette Dreyfus at the Schola Cantorum in Paris, then with Bob van Asperen at the Royal Conservatory of The Hague (winning the coveted First Prize in the Seventh Bruges International Harpsichord Competition at the age of twenty-two), followed by the creation of his own ensemble, Les Talens Lyriques, in 1991, have enabled Christophe Rousset to obtain a perfect grasp of the richness and diversity of the Baroque, Classical and pre-Romantic repertoires.

Read more

 

(Picture: Ignacio Barrios Martinez)

 

When is a piano not a piano?

When it submits to the dizzying, audacious Musica Ricercata. The Wigmore Steinway found new voices – drums, horns, tinkling bells and great bellowing bass rumbles – in Roman Rabinovich’s mesmerisingly theatrical and witty performance of Ligeti’s eleven-movement musical algorithm. Based on the Baroque ricercar, the set of pieces are linked by a gradual reveal of pitches and structural progression, culminating in a fugue. This was an ambitious and, for some, uncompromising opening to a concert which also comprised music by Bach and Schubert. As befits this musician who is also an artist, Rabinovich drew myriad colours from the instrument, all infused with a rhythmic bite and vibrant sparkle which took full advantage of the crisp tuning of the piano.

That same rhythmic bite and richly-hued sound palette found a different voice in Schubert’s piano sonata in c minor, D958. Composed in 1828 and completed shortly before the composer died, this is his hommage to Beethoven, and the unsuspecting listener could easily be forgiven for mistaking this for one by the old radical himself. Yet Schubert’s more introspective nature is always there, in the shifting piquant harmonies and mercurial volte-faces of emotion and pace. Those who favour the “Schubert knew he was dying” approach to the last three sonatas would have been disappointed: Rabinovich’s performance proclaimed “Choose life!”, particularly in the rugged (but never earnest) orchestral vigour of that deeply Beethovenian opening movement, and the rollicking, toe-tapping tarantella finale (which had a woman across the aisle from me air-pedalling frantically while jiggling up and down in her seat). The second movement was a hymn-like sacred space of restrained elegance and mystery, oh so redolent of Beethoven in reflective mood, yet unmistably Schubert in its intimacy and emotional breadth.

The Bach Partita, which came between Ligeti and Schubert, tended towards romanticism (no bad thing – I play Bach with a romantic tendency), while the bright sound of the piano afforded some delightful filigree ornamentation.

Based on what I heard last night, I look forward to hearing Rabinovich’s new Haydn piano sonatas recording (the second of which is in production).


Wigmore Hall, Friday 25th January 2019

Ligeti
Musica Ricercata
Bach
Partita in D, BWV828
Schubert
Piano Sonata in C-minor, D958

Roman Rabinovich, piano


Meet the Artist – Roman Rabinovich

On Artistic Process

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Scriabin – Piano Sonata No.2 in G sharp minor Op.19
RavelMiroirs
Mozart – Piano Sonata in C K279
Schubert – Piano Sonata in A D959

Monday 18th June 2018, Wigmore Hall. Peter Donohoe, piano

I can think of few better ways to celebrate a significant birthday than a concert at London’s Wigmore Hall: a beautiful venue with a warm atmosphere, an audience of friends and supporters, and a generous programme of music reflecting the breadth and range of Peter Donohoe’s talents and musical tastes, and celebrating a long and acclaimed international career.

Anyone who attended Peter’s Scriabin sonatas marathon at Milton Court last year (the complete piano sonatas performed in three concerts in a single day) will know that Peter has a real affinity for the diverse and mercurial qualities of Scriabin’s writing, so this early piano sonata proved a good opener, reconfirming Peter’s ability to create multi-hued, highly expressive music and capture Scriabin’s fleeting, often volatile moods. And its rather fantasy-like qualities set the scene well for Ravel’s Miroirs, which for me was the real tour de force of this concert. Here was piano playing of the highest order – exquisite layers of sound, moments of aching beauty, and a clear vision for each movement to shape their individual characters and narratives. Oiseaux Tristes was heat-soaked and languid, its ennui washed away by the sparkling, rolling waves of Une barque sur l’océan – for me the highlights of this set. In both the Scriabin and Ravel, Peter displayed a wonderfully natural insouciance, presumably born of a long association with this music, which brought spontaneity to the performance.

The second half was occupied with the classical sonata form, in the hands of two masters – Mozart and Schubert. While the Mozart was elegant and intimate, as if played at home amongst friends, Schubert’s penultimate piano sonata was pacy and expansive. Here Schubert experimented with the possibilities of the classical sonata form, creating, with its companions the D958 and D960, a triptych of sonatas of “heavenly length” and wide-ranging musical ideas. The first movement of the D959 had grandeur and scale, emphasised by the exposition repeat, which Peter observed, and tempered by moments of introspection and wistfulness, though never melancholy. Its infamous slow movement was a reflective meditation shot through with a barely-controlled frenzy, rather than a funereal dirge with hysteria (the preferred approach of some pianists who shall remain nameless and who insist on reading the marking Andantino as Adagio….). Schubert’s shifts of gear, bittersweet harmonies and moments of wistfulness were neatly captured throughout. The finale was warm and consoling, nostalgic and ultimately hopeful. One can only wonder what else Schubert might have done with the sonata form had he lived longer…..

For an encore, Peter played Mozart’s D minor fantasy, beloved of pianists everywhere and a neat contrast to the quasi-fantasy of the Scriabin which opened this magnanimous concert.

The genteel Wigmore Hall audience was startled by the abrupt slamming of the lid of the piano, heralding the start of a brand new work by a composer celebrating a significant birthday on the day of the concert. The pianist was Igor Levit, always very popular with Wigmore audiences, and the composer was Frederic Rzewski. As a student Levit was captivated by Rzewski’s music and asked the composer to write a new piece. The work premiered at this concert was commissioned by Wigmore Hall for Levit to play.

Read my full review here

It seemed fitting in the year of the centenary of Claude Debussy’s death for the pianist Denis Kozhukhin to devote half of a concert to his music, and appropriate to include George Gershwin in the second half. Debussy was undoubtedly aware of – and influenced by –  American ragtime and jazz, and had an immense influence on Gershwin, and later jazz composers, including Duke Ellington, Bill Evans and Keith Jarrett. The ghost of the French composer haunts many of Gershwin’s works with their pungent harmonies, simple melodies and improvisations.

Never had Book 1 of Debussy’s Préludes seemed so languid, so laid back as in Kozhukhin’s hands: even the up-tempo pieces such as Le Vent dans la plaine and Ce qu’a vu le vent d’ouest, or the capricious La Danse de Puck had a relaxed suppleness which suggested music played not in a grand concert hall but rather late evening in a Parisian café with a glass of something before one. Danseuses de Delphes set the tone: this first Prelude had an erotic grace, a hint of naughtiness behind the direction Lent et grave (slow and serious). Voiles even more so: was this a boat gently rocking on water, its sails barely ruffled by a warm breeze, or perhaps diaphanous veils wafting in an altogether more sensuous scenario? Kozhukhin kept us guessing, lingering over Debussy’s intangible perfumed harmonies, subtly shading his colourful layers and textures, and highlighting the quirky rhythmic fragments which frequent these miniature jewels. His approach was concentrated and intense – the frigid stillness of Des pas sur la neige was almost exquisitely unbearable – but there was wit and playfulness too, Minstrels prancing cheekily across the keyboard to close the first half with an insouciant flourish.

Read full review here


Artist photo: Marco Borggreve

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Edited highlights, especially for piano fans…..

A welcome return by Russian pianist Igor Levit, whose Beethoven cycle at Wigmore Hall received huge acclaim. He will give a series of concerts on variations including Bach’s ‘Goldberg’, Beethoven’s ‘Diabelli’, and Rzewski’s The People United Will Never Be Defeated

Other pianists appearing in the 2018/19 season include Lars Vogt, Richard Goode, Thomas Ades, Alexander Melnikov, Sir Andras Schiff, Elisabeth Leonskaja, Angela Hewitt, Marc-Andre Hamelin, Jonathan Plowright, Jeremy Denk, Lucas Debargue and Evgeny Kissin

Plus special birthday concerts for Emmanuel Ax (70), Christian Blackshaw (70), Piotr Anderszewski (50)

Full details of the 2018/19 Season will be available from April when the complete season brochure is published. Meanwhile, download the season preview here