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SEEN AND HEARD INTERNATIONAL CONCERT REVIEW
Liszt: Evgeny
Kissin (piano), Carnegie Hall, New York City, 9.3.2011 (SSM)
Etudes d’exécution transcendante, S. 139, no. 9, "Ricordanza"
Sonata in B minor, S. 178
Funérailles
from
Harmonies poétiques et religieuses
(second version),
S. 173, No. 7
Vallée d’Obermann
from Années de pèlerinage, première
année: Suisse, S.160
Venezia e Napoli,
S. 162
This recital by Evgeny Kissin
is the same program as
the one reviewed by my colleague Mark Berry on 13-2-2011 at the Barbican
Hall, London.
It is an interesting and very different experience attending a recital by a
charismatic virtuoso. A critic needs to pay special attention when judging
the success or failure of a performance by a legendary soloist. One must be
particularly careful not to get caught up in the audience's mass mentality yet
still retain the ability to separate who the artist is from what the artist
does. Those who dart up from their seats to clap, shout and cheer would do the
same whether the artist played heavenly or atrociously.
I could not tell the exact
demographics of the audience, but a quick glance showed considerably fewer
white haired or balding men than at most performances in Carnegie Hall. While
waiting at the entrance, a bus dropped off a class of young teenage students.
This was not your usual classical music audience, but then again this was not
your usual concert.
Before Kissin entered, the feeling of expectation was palpable. When he walked
on stage, affectlessly bowed and began playing, three thoughts came into my
head. My first was, "Here is living proof that Dorian Grey exists." How can
someone look exactly the same at forty as he did at twelve, particularly
someone who has borne the stresses of concert touring for the past twenty-five
years? My second thought was, "Is he an automaton perfectly fine-tuned to play
perfect music perfectly?" My third thought was, "Who cares?" The end result is
that, while not the most Romantic, soul-searching performance of these works,
it certainly was close to being the most accomplished, impeccable and peerless
performance I have ever seen. Sit back and enjoy the ride.
And a ride it was. From the opening
dolce, con grazia of the "Ricordanza" from the
Etudes d’exécution
transcendante
to the
final
fff
of
the Tarantella
from
Venezia e Napoli, Kissin played impossibly difficult music as if all were
as transparent as Liszt's relatively simple Consolations.
Pianissimos were delicately played, yet clearly audible. Fiery chords at
higher volumes were never muddled and always crystal clear. For such an
amazing virtuoso, Kissin never postured, exaggerated or felt the need to
display any kind of unnecessary showmanship. If there was one phrase to
describe his playing it would be the oxymoron, "Classically Romantic":
emphasizing form over emotion, in a way similar to how Arthur Rubinstein
approached Chopin. Kissin was peerless in his ability to give shape to every
part the music from the smallest phrase to the entire work.
Kissin's performance of the massive Sonata in B
minor shared all these qualities. Compared to the emotionally raw and almost
terrorizing performance by Martha Argerich when she was 19, Kissin's
interpretation was indeed tame. But what Kissin did do was make sense out of a
work that still baffles audiences today. When he came to repetitions of the
major themes, they sounded natural, whereas in other performances, they often
sound clichéd and bathetic, forerunners of the overblown and schmaltzy themes
of Tchaikovsky. From the technical side Kissin was flawless, showing no signs
at all of stress, stringing impossibly difficult chords through chromatic runs
as if he were practicing scales.
Kissin couldn't
quite overcome the inherent dreariness of the Funérailles from
Harmonies poétiques et religieuses,
though he made a
valiant attempt. Liszt's most attractive music are those works where he
attempts to write melodic lines in the style of Chopin, but except for a
lovely theme that enters midway and the delicate, almost inaudible coda, the
rest of Funérailles
suffered from lack of
imagination.
The Vallée d’Obermann from the
Années de pèlerinage began as if it were a Chopin Nocturne, and
Kissin was just as masterful in bringing out the musical lines in slow pieces
as well as the more dramatic ones. After a short outburst, Kissin ended the
piece as quietly as it began.
The final work on the program, Venezia e
Napoli,
contains three movements. The first a gentle, swaying song evoking the
gondoliers of Venice was warmly played with Kissin creating wonderful
tinkling sounds from the high end of the keyboard. The second movement, simply
called Canzone, is a slight piece with a rather uninteresting melody
supported by continuous tremolandos and ending with rolling sextuplets
in the bass. It seemed to exist merely as a transition. The concluding
movement is the same piece that Jean-Yves Thibaudet played to end
his recital a month earlier. Whereas Thibaudet used this dance simply as a
vehicle to dramatically conclude his concert with a bang, Kissin found
substance as well, emphasizing the movement's song-like qualities, without
skimping on the piece's showy virtuosity.
Those who came to this recital with the idea that Liszt must be played with
romantic Weltschmerz may certainly have been disappointed, but for
those without any preconceived ideas this was an evening to remember.
Stan Metzger