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SEEN AND HEARD INTERNATIONAL
CONCERT REVIEW
J. S. Bach, Italian Concerto (BWV 971)
Overture in the French Style (BWV 831)
Schumann, Humoresque B minor (op. 20)
Scherzo, Gigue, Romance and Fughetta (op. 32)
Grigory Sokolov's recitals have become annual events that
have almost evolved into religious rituals. The number of
faithful that flock to the concert hall increases, even
though ticket prices do likewise. After devoutly listening
to what invariably seems like a musical epiphany, a few
listeners are exhausted and leave, while most don't stop
begging for encore after encore. Sokolov typically obliges
six times.
There is doubtless something disconcerting (the pun seems
appropriate) about this development: culture of this caliber
should not only be available to the select few who can
afford it (after all, Sokolov records extremely little), and
stardom tends to distract from the music itself.
But all this is forgotten the moment Sokolov touches the
keys. The first half of the evening consisted of Bach's
"Clavier-Uebung, Part 2." Published in 1735, the Italian
Concerto and the French Overture were written for two-manual
harpsichord. "Italian style" means that orchestra passages,
played on the forte manual, alternate with solo passages
played on the piano manual. Sometimes orchestra and solo
instrument play together. This is where pianists are never
very precise - when one hand plays tutti passages, the hand
playing the solo part typically also increases in volume.
Not so Sokolov: he not only executes the most precise trills
imaginable; he was also absolutely faithful to Bach's score.
In the French Overture the complete control Sokolov has over
his hands became even more obvious. An overture is really an
orchestra suite - in this case, one that includes French
dances. While Bach called other works of this kind for solo
instrument a partita, "overture" here indicates that it is
an orchestral work at heart. And Sokolov did evoke an entire
orchestra: he miraculously created a synesthetic experience
where the music turned into dancers you would have sworn you
could actually see. In the last movement, Echo, the effect
sounded as if the echo were coming from another room.
After the intermission came Schumann. As he often does,
Sokolov played the two works as a unit, barely giving the
audience time to applaud. "Humoresque" is a term taken from
the German Romantic poet Jean Paul and must not be confused
with "Scherzo" - "humor" here means mood. Schumann wrote
this and the four pieces that make up op. 32 in 1838/39.
Both works are much less known than others from that period,
such as Arabesque, Kreisleriana, and
Kinderszenen. It was a time of uncertainty for
Schumann. The conflict with his future father-in-law was
coming to a head. Moreover, Robert wanted to establish his
musical journal in Vienna, where he also tried to find work.
Both attempts were unsuccessful.
The two works are so complex, it is easy to see why Sokolov
- who in one of his rare interviews said that he only plays
music he loves - feels so close to them. Never aiming at a
superficial impact, he brings out the various layers and
moods of a work. In his hands, the piano turned into many
different instruments - even a plucking string instrument.
How does he do it? Maybe there are pianists who have dazzled
me more with their sheer technical acrobatics; or others who
have moved me more because they gave expression to easily
identifiable, intense emotions. But no one has ever left a
more lasting impression on me than Grigory Sokolov. He seems
to go inside the music itself, opening a realm that would
otherwise be forever closed. Perhaps this is one reason why
he barely acknowledges applause and why he is so easily
persuaded to play yet another encore: applause is as
untrustworthy as words. Truth lies only in music - and in
silence.
Thomas K Thornton