from Martha Argerich & associates to Jean Rondeau in self-indulgent type

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, somewhat than the sooner type of accompanied sonatas. Mischa Maisky and Martha Argerich took a really trendy method to the work, and specifically Maisky appears to have been bored with any historic perspective on the work. The opening was totally 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 energetic and filled with character, with Maisky producing some delicacy within the solo line although nonetheless with extremely romantic phrasing. Argerich began the third motion virtually earlier than Maisky was prepared. The curiosity right here was undoubtedly within the piano. The entire efficiency had a sense of being of a selected time, the performers’ method to Beethoven taking no account of extra trendy practices, seeing this 18th century work by a romantic lens.

Beethoven: Cello Sonata – Mischa Maisky, Martha Argerich – KKL Luzern (Photograph: 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 somewhat inside dialogue between Jansen and Argerich. The principle a part of the motion was pressing and important, but Jansen’s vibrato-led method 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 in a position to deliver to her function. The second motion was intimate and discreet, the delicacy of the music shading virtually 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 somewhat have heard a violinist like Rachel Podger on this music, however the sheer persona of the mixture of Argerich and Jansen drew you in.

There was then a protracted 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 appeared 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 Battle 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 colors. 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 beneath 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 in addition stressed.

Debussy: En blanc et noir – Stephen Kovacevich, Martha Argerich – KKL Luzern (Photograph: 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 workforce had carried out 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 in addition had trendy looping strategies. 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 totally. From hints of cosmos and stars the visuals then veered into extra disturbing realms earlier than fracturing into quasi-Twentieth century Futurism. Rondeau’s predominant 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 always harked again to Nancarrow. There have been different, extra self-indulgent moments together with taking part in contained in the instrument in addition to complete fistfuls of notes from his forearms. It was not at all times clear what we had 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 somewhat lacked a way of construction. 

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

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