Clare Hammond is a fearless pianist,
specialising in virtuosic repertoire from the 20th and 21st
centuries, often championing the work of contemporary composers and premiering
their work. She performed in a stunning
lunchtime recital at the 2013 Brighton Festival. Her latest CD is ‘Étude’. It includes 26
études, a form which began as study exercises for pianists to develop a
particular aspect of technique, but largely through the efforts of Chopin and
other pianist-composers after him, has become an art form in itself, with
composers exploring the outer limits of technique and pushing the pianist to
new extremes of virtuosity. The disc
begins with three from a set of twelve ‘Études
d’exécution transcendante’ by Russian composer Sergei Lyapunov (1859-1924).
This set was dedicated to Liszt, and completed the cycle which Liszt had
begun of studies in all the 24 major & minor keys. Though whilst Liszt was clearly a major
influence, this is undoubtedly music from the late Romantic Russian
nationalistic school. With surging
rivers (‘Térek’), an atmospheric ‘Nuit d’été’ and an full-on raging ‘Tempête’, the three chosen here give
Hammond a perfect opportunity to set the scene for some barnstorming
playing. The six Piano Études which follow are from South Korean composer Unsuk Chin (b.1961). Often thinner in texture, yet no doubt more
technically demanding, these pieces manage to convey remarkable energy and
imagination within the potentially restrictive demands of studies based on repetition
or scales, and are probably the most pianistically challenging works on the
disc. Hammond seems to relish the
challenges set, yet also manages to find a sensitive touch in the delicate
moments amid the fireworks. Polish
composer Karol Szymanowski’s (1882-1937)
set of 12 Studies live in the
same soundworld in many ways as Debussy’s études, composed just one year
earlier than Szymanowski’s (in 1915).
These are short pieces, all under two minutes long, and Szymanowski does
well to create a specific mood in such a short space of time, although there is
perhaps less variety across the different études here, with the consistently
bitonal harmonies creating an other-worldy feel throughout. The disc ends with Ukranian pianist/composer,
Nikolai Kapustin’s (b.1937) Five Études
in Different Intervals, providing the perfect closing sequence for this
astonishing disc. Kapustin combines
classical and jazz styles in a unique way, and here he takes a seemingly
restrictive concept, a specific interval for each study, as a starting point
for five exuberant and joyous confections, once again fiendishly
challenging.
The
Six Concerti Armonici for strings
and basso continuo were first published in 1740, but without an ascribed
composer. There have been many theories,
and the most popular choice for many years was Pergolesi. But the mystery was solved in 1980 by the
Dutch musicologist, who found a manuscript of the concerti with a preface by Count Unico Wilhelm van Wassenaer
(1692-1766). A renowned Dutch
diplomat, he was also admired for his compositions. The Innovation Chamber Ensemble consists of principal string players from the City of Birmingham Symphony Orchestra, under the artistic direction of Richard Jenkinson, and they certainly
show how much they enjoy this change of repertoire with stylish and spirited
playing throughout. This are not early
instrument expert performances, but they play sensitively, and it is only
perhaps in the slow movements where occasionally the sound is a little heavy
for my liking. However, these are
beautiful concerti and contain great variety and invention, giving the
Innovation Chamber Ensemble plenty of scope for varying tone and dynamics,
which they do well. Predominantly in the
Italian style, they are nevertheless far from formulaic works, and many of the
faster movements practically fizz with energy.
Harpsichordist
Steven Devine performs regularly
with the Orchestra of the Age of Enlightenment and London Baroque, and has
performed on numerous occasions in events in the Brighton Early MusicFestival. His Goldberg Variations
recording won much deserved phrase, and he follows this with a further disc of J S Bach, including the ‘Italian’ Concerto and ‘French’ Overture, both from the second
part of his ‘Clavier-Übung’. But Devine
starts his disc with the Chromatic
Fantasia and Fugue, BWV 903. Right
from the word go, it is clear that this is full-blooded harpsichord playing,
and and recorded sound from Chandos is appropriately warm and upfront. It is refreshing to hear the harpsichord played
with command and intent, and not in an overly sensitive and precious way, which
is sadly often the case. I like the
rhythmic drive he gives, not allowing the rapid ornamentation in the Fantasia
to upset a strong sense of pulse. This
is equally evident in the Aria variata
which follows – a theme with 10 variations ‘in the Italian manner’. The Fantasia
in C minor, BWV 906 comes next, and again precision and rhythmic integrity
is paramount here. Although the form of the ‘Italian’ Concerto which follows is clearly based on the concerti
with orchestra, of Vivaldi, Bach takes this and uses dynamic contrast and
varying textures to create a virtuoso concerto for the solo instrument. Once again the opening movement has drive and
energy, but in the central slow movement, Devine shows that he can also make
the instrument sing, allowing the beautiful aria solo line to breathe, before
the crashing Presto sweeps aside contemplation.
The ‘French’ Overture closes
the disc, and opens with a long Ouverture movement which is a phenomenal
construction in itself. Here Devine’s
programming makes perfect sense, with this great work offering the opportunity
for him to bring together his strong virile approach with a lighter touch in
the faster dance movements such as the Passpieds and Bourées, as well as giving
us a touching Sarabande. The closing
Écho is given suitable panache, and he clearly enjoys the echo effects to their
full – a joyful end to a stunning recording.
No comments:
Post a Comment