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SEEN
AND HEARD RECITAL REVIEW
Stephen
Hough Recital:
Stephen Hough (piano) Wigmore Hall, 17.1.2008 (MB)
Mendelssohn – Variations sérieuses in D minor, Op.54
Webern – Variations, Op.27
Beethoven – Piano Sonata in C minor, Op.111
Weber – Invitation to the Dance, Op.65
Chopin – Waltz in C sharp minor, Op.64 no.2
Chopin – Waltz in A flat major, Op.34 no.1
Saint-Saëns – Valse nonchalante, Op.110
Chabrier – Feuillet d’album
Debussy – La plus que lente
Liszt – Valse oubliée no.1
Liszt – Mephisto Waltz no.1
This recital fell clearly into two halves. The first focused upon
variation form, the second upon the waltz. A packed Wigmore Hall
was understandably eager to hear Stephen Hough, as was I. However,
I came away feeling a little disappointed. Flashes of brilliance –
sometimes, especially in the second half, rather more than that –
were accompanied by some perfectly respectable yet surprisingly
workmanlike pianism.
The Mendelssohn Variations sérieuses have had a number of
advocates over the years, but I do not find an especially strong
work here. The theme is a little dull, which need not betoken dull
development; yet, despite some interesting moments, Mendelssohn
does not seem particularly inspired for many of the variations.
That said, the Variations found an able advocate in Hough.
His touch was beautiful and there was a real sense of cumulative
development as the variations gathered pace. The syncopations of
the fifth variation were tellingly presented and the part-writing
of the tenth variation’s fugato was projected with an admirable
balance between contrapuntal clarity and harmonic progression.
Hough hastened towards a dazzling peroration in the coda.
Webern fared less well. Hough’s was very much a horizontal rather
than vertical reading, whereas the music requires an equilibrium
and a dialectic between the two. The notes were very clear,
crystal-clear even, but without the crystalline perfection – let
alone the meaning – that, for example, Maurizio Pollini brings to
this miraculous score. The second movement, Sehr schnell,
sounded relentlessly loud, despite the acknowledged dynamic
contrasts. Its notes sounded stabbed at, rather than sculpted.
Usually this work is over in the twinkling of an eye; here, it
threatened to overstay its welcome.
Beethoven’s final piano sonata received a reading somewhere in
between. There was little about which one could justifiably
complain, although, on the other hand, this was not a performance
one will be likely to recall several years hence. An unusual
aspect was the forthrightness of the opening Maestoso. One
lost something in terms of harmonic ambiguity, but one sensed a
kinship with Beethoven’s earlier masterpieces in C minor. Indeed,
much of the first movement sounded closer to ‘middle-period’
Beethoven than to the more typically rarefied sublimity of ‘late’
Beethoven. There is nothing intrinsically wrong with that: holy
ground does not always necessitate removal of one’s shoes. Yet
something of this noble work’s secondary simplicity was lacking.
Initial presentations of the first subject, in both the
development and the recapitulation, sounded a little matter of
fact and hard-driven, but there were also passages of considerable
beauty, more in tune with the extraordinary metaphysical vistas
Beethoven reveals. With the second-movement Arietta, we returned,
of course, to variation form. There were once again some beautiful
things here, not least those all-important trills, preparing their
breathtaking modulatory way (all the more breathtaking for the
movement’s general lack of modulation). Hough remained utterly
secure in his technical command. He exhibited a clear
understanding of the music’s structure, without ever quite
appearing to be breathing its air of another planet.
It seemed a little cruel to position Weber’s rather trivial
Invitation to the Dance – which sounds better in Berlioz’s
orchestration – next to two of Chopin’s Waltzes. Despite a little
haziness at one point in the passagework, Hough proved an able
advocate for the Weber, but he could not entirely obscure its
sectional writing and sometimes rather threadbare invention. To
think that this was the work of the composer of Der Freischütz!
The Chopin waltzes received generally fine readings, especially
the C sharp minor work. Hough exhibited a sound command of idiom
and style: not the most overtly ‘Polish’ of readings, but there
are many ways to perform Chopin. Inner voices, of which there are
fewer in the waltzes than in many other Chopin works, were made to
tell where they did appear, but never at the expense of the longer
line, nor indeed of a dancing grace. I retained a nagging doubt,
however, that there remained unplumbed emotional depths.
Saint-Saëns’s Valse nonchalante did what it said on the
tin. It was mildly interesting to make its acquaintance, but I
doubt I should rush to hear it again. Chabrier’s Feuillet
d’album, whilst hardly a profound work, exhibited more charm,
both in itself and in Hough’s account. The pianist also had the
measure of Debussy’s slyly ironic, yet far from un-affectionate
La plus que lente. Debussy’s accomplishment, however, rather
forcefully consigned his compatriots into the shade.
The one serious disappointment in terms of performance from the
second half was the first Liszt Valse oubliée. Its
technical challenges posed no problem to Hough, but he rather
glided over the musical content. Liszt of all composers needs to
be treated as more than an opportunity for pianistic display.
Perhaps Hough was holding something in reserve for the first
Mephisto Waltz, for this received an outstanding performance.
The astonishing opening accretions of fifths underlined that we
are but a stone’s throw, if that, from Bartók. Mephistopheles’s
music was dangerous and enticing, though never in a flashy sense.
Faust was dangerous, exciting – and beguiling. Hough played like a
man – indeed a Faustian figure – possessed, and received a
deservedly rapturous innovation at the end. It was worth having
attended the performance simply for this final piece. The recital
was being recorded for release by Hyperion.
Mark Berry