Grigory Sokolov Reviewed by: Colin Anderson |
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Bach Grigory Sokolov (piano) Barbican Hall, |
Not so much a recital but a happening, one that takes place in virtual darkness a requirement of Grigory Sokolov that creates just the right ambience. With six substantial encores, four by Chopin (including a couple of the Impromptus and a Mazurka) and then Bach, as arranged first by Siloti and then by Busoni, this may have been a long concert by the clock but a timeless, even disorientating one when measured in musical rather than real time. The Chopin encores demonstrated Sokolovs prowess in this composer searching, volatile, dextrous (but not showy) and eloquent, exploring a wide dynamic range (including amazingly distant pianissimos) and with an emotional weight that transcends the salon aspects of Chopin that some pianists perceive no further than. The two Bach transcriptions had soulful power and turned the recital full-circle, the opening French Suite light-fingered and fleet and crisply articulated, voiced and balanced. Ornamentation was made explicit and the Sarabande given an emotional dimension a world away from the musics origins but chiming profoundly with today. Beethovens Tempest Sonata may have seemed too worked-out at times, especially regarding dynamic contrasts, but atmosphere was powerfully conveyed, rhythms were immaculately sprung and Sokolov peered deeply into the resonance of single notes and their surreal potential maybe too much, but it opened up the scope of the piece and made one reassess it. From the gaseous vapour of the opening arpeggio (and its return) to a perfectly poised, moderately paced finale (its rotational design made specific), fortissimos gruffly assertive, an immense world was opened up, one that in stopwatch-time was not especially extended, but seemed dimensionally expanded in the most positive sense. Sokolov couldnt disguise that Schumanns F sharp minor Sonata is rather sprawling in design, but his was an ingenuous interpretation in which he caught the mood unerringly, heroic and soulful in the Introduzione and the drive and tenderness of the Allegro vivace. As he had done in both the Bach and Beethoven, Sokolov allows no pauses between movements (amazing how that stifles the audiences bronchial outbursts that usually occur at such points!) and this intensified the musics whole. How well, for all his premeditation, Sokolov captured the spontaneity and fantasy of Schumanns music and what a magnificent account he gave of the Scherzo and Intermezzo. The nearest that Sokolov gets to having a relationship with the audience is a short bow that merely interrupts him getting off the platform; but while he is playing he is the most vivid and creative communicator, one with a most wonderful and variegated sound and always serving the music. |