There is some sparkling pianism here. The First
Concerto responds immediately to Hatto’s brio, her dynamic rhythms,
sharply but musically etched, and that wonderful tone of hers.
The left hand lines subtly animate the opening movement and whilst
she drives quite fast, her elasticity is such that she can easily
relax; her rubati are never obtrusive. What I also like is her
sense of humour, those little pecks she imparts to the line and
the way in which she brings Mozartian clarity to her playing.
The romantic voicings of the slow movement are most impressive,
the shadings and tonal balance entirely at the service of the
music whereas when she launches the finale there’s plenty of drama.
What’s also there of course, as one has by now learned to expect,
is proper balancing between hands, as well as a saucy enjoyment
of Mendelssohn’s wit. Frolicsome and lissom, she leads away to
the conclusion, the orchestra playing its fine and committed part
under René Köhler.
Praise also for the Second. She shapes the melodies
wonderfully well, plays lightly not portentously, eschewing the
falsity of feeling that some pianists are apt to impose on these
works and has the digital clarity and the sense of lyricism to
play quietly whilst never playing unfeelingly. As ever in the
slow movement her tonal weight is sagacious, her sense of direction
sure, relaxation of tempi monitored with just propriety. And the
finale – in a word, exciting. The "makeweights" prove
fine. Of them I particularly nourished the Andante of the Andante
and Rondo Capriccioso – such limpid tracery.
The notes are full and fine, recorded sound just,
though there are occasions when the orchestra sounds a mite recessed,
and Joyce Hatto’s playing frequently memorable.
Jonathan Woolf
MusicWeb
can offer the complete
Concert Artist catalogue
Joyce Hatto (piano)