from Martha Argerich & mates to Jean Rondeau in self-indulgent kind

Beethoven’s Cello Sonata in G minor is considered one of a pair that he wrote when visiting Berlin in 1796 and it was premiered there by Beethoven with the King’s cellist. Beethoven composed the primary fully-developed cello sonatas within the trendy custom, moderately than the sooner type of accompanied sonatas. Mischa Maisky and Martha Argerich took a really trendy strategy to the work, and specifically Maisky appears to have been bored with any historic perspective on the work. The opening was absolutely of drama with Maisky being very free with the phrasing, resulting in some finely sung melodic strains. All through, Maisky utilized vibrato in beneficiant proportion and a way of romantic phrasing. He was discreetly and elegantly supported by Argerich who introduced poise to the piano half when it got here to the fore. The second motion was vigorous and filled with character, with Maisky producing some delicacy within the solo line although nonetheless with extremely romantic phrasing. Argerich began the third motion nearly earlier than Maisky was prepared. The curiosity right here was positively within the piano. The entire efficiency had a sense of being of a selected time, the performers’ strategy to Beethoven taking no account of extra trendy practices, seeing this 18th century work via a romantic lens.

Beethoven: Cello Sonata – Mischa Maisky, Martha Argerich – KKL Luzern (Picture: Luzerner Sinfonieorchester/Philipp Schmidli)

After an interval, Argerich returned with violinist Janine Jansen for a efficiency of Beethoven’s Kreuzer Sonata (maybe higher named the Bridgetower Sonata). The work opened with an intimate gesture from Jansen, then developed right into a moderately inside dialogue between Jansen and Argerich. The principle a part of the motion was pressing and important, but Jansen’s vibrato-led strategy was notable for the romantic view of the work. Jansen was at all times matched by Argerich, although it was notable fairly how a lot readability the pianist was capable of carry to her position. The second motion was intimate and discreet, the delicacy of the music shading nearly right into a waltz. Within the third motion, Jansen belied the richness of tone to create a remarkably inward efficiency. We had a crisp and pressing account of the finale, with each performers seeming carried away by their sheer enjoyment. It was this side of the efficiency that drew us in. Frankly, I’d moderately have heard a violinist like Rachel Podger on this music, however the sheer character of the mix of Argerich and Jansen drew you in.

There was then an extended pause for the technical crew to reset the stage and the microphones earlier than Martha Argerich and Stephen Kovacevich returned for Debussy’s En blanc et noir. Kovacevich gave the impression to be having difficulties strolling (he’s 85 to Argerich’s 84) however as soon as seated on the piano all trace of frailty disappeared. Debussy wrote En blanc et noir in 1916, throughout World Conflict One, when sickness prevented him from contributing indirectly. The music does embrace coded messages in regards to the battle, however of a extra musical relevance is that undeniable fact that Jeux had premiered just a few years earlier. En blanc et noir has that piece’s sense of fluctuating rhythms and hues. The primary motion positively shimmered with motifs rising and disappearing, with subtly underlying rhythms being emphasised. The second motion was extra quietly managed, but right here there have been threatening low notes below the shimmering textures. At one level there have been hints of trumpets earlier than all of it receded. The finale was quick but mysterious, but additionally stressed.

Debussy: En blanc et noir – Stephen Kovacevich, Martha Argerich – KKL Luzern (Picture: Luzerner Sinfonieorchester/Philipp Schmidli)

Argerich and Kovacevich then moved to Debussy’s Prelude a l’apres-midi d’un faune within the composer’s transcription for 2 pianos. The opening ‘flute’ melody was notable for the sheer magnificence and ease of phrasing that Kovacevich delivered to it. All through we hardly missed the colors of the orchestra as the 2 pianists introduced lifetime’s value of expertise into the subtlety, delicacy, element and sheer magic.

After one other interval, the technical crew had executed extra wizardly and Jean Rondeau’s ready harpsichord was wired as much as the sound system. The instrument was ready a la John Cage but additionally had trendy looping methods. As well as, there have been visuals from gentle artist Ocubo with sound and light-weight generally intimately linked.  Initially, Ocubo’s contribution was considerably underwhelming and it took time for his or her inventive imaginative and prescient to seem absolutely. From hints of cosmos and stars the visuals then veered into extra disturbing realms earlier than fracturing into quasi-Twentieth century Futurism. Rondeau’s foremost affect appears to have been Conlon Nancarrow and his preludes for participant piano. Rondeau’s obsessive use of livid repeated notes all through the improvisation consistently harked again to Nancarrow. There have been different, extra self-indulgent moments together with enjoying contained in the instrument in addition to complete fistfuls of notes from his forearms. It was not at all times clear what we have been listening to or how the sounds had been created. Actually the carte blanche that the setup introduced appears to have made Rondeau’s mental contribution veer in the direction of self-indulgence and the entire moderately lacked a way of construction. 

Jean Rondeau – KKL Luzern (Picture: Luzerner Sinfonieorchester/Philipp Schmidli)

It was not clear when the improvisation would finish. With the moderately audible departures of viewers members, we questioned whether or not Rondeau would cease when he not had an viewers (a really Cageian concept). In actual fact, the youthful members of the viewers stayed and have been voluble of their appreciation of Rondeau’s efficiency.