Saturday March 28, 2020
Of course! Use the internet to provide a live-performance musical fix in these alienated times. Nobody comes into contact with anybody else; although I’m sorry I missed the Arcadia Winds recital, just to see if they observed the 20-metre rule or if they occupied separate booths to avoid breath contamination. At all events, you have to hand it to Chris Howlett and Adele Schonhardt for setting in motion this exercise where local musicians get to beam out a short program, about an hour long, charging the recipients $20 a pop.
By ‘local’, I mean just that, of course: you won’t be getting any interstate or international visitors dropping in to do a broadcast until the New Age dawns. So these MDCH performers are well-known quantities, particularly for Melbourne concert-goers: the Arcadians, pianists Tristan Lee and Stefan Cassomenos, early music experts Latitude 37 (are all three Melbourne residents these days?), cellist Zoe Knighton, pianists Elyane Laussade and Kristian Chong, and the Songmakers Australia quintet. Yes, it’s a bit heavy on the keyboard element but, with a bit of luck, a string quartet or a piano quintet is not an impossibility in the future of this enterprise with its lowest possible overheads.
The reason I didn’t catch the Arcadia was because I forgot the time difference between Queensland and the other eastern coast states; tuning in for the group’s Mendelssohn/Saint-Saens/Glinka program, only to find the telecast was over. Disappointing, but a timely warning of how go-ahead Palaszczuk’s government is: if you want to hear a 5 pm program from Melbourne, you have to tune in up here at 4 pm. Just like the Nobel Prize winner sang: The hours they are a-changin’.
In any case, I experienced Tristan Lee’s recital on Saturday afternoon at which he played the Intermezzo No. 1 from the Op. 117 set by Brahms, the Pastoral(e) Sonata Op 28 in D Major by Beethoven, and Liszt’s Two Legends S. 175. These last-mentioned feature on an earlier Move disc by Lee released a year ago and which is mainly taken up by Volume II of the composer’s Années de pèlerinage. Lee has been performing Beethoven’s Op. 27 pair of sonatas for some time but I think this might have been his first ‘public’ essay at the next work in the composer’s catalogue.
As for the Brahms, it’s a fundamental in the piano repertoire (wasn’t it on the old AMEB lists?) and, if another person observes how difficult it is to play superficially simple Brahms, I’ll start cursing with associated profanities. This is a slow-moving piece – a lullaby, from the composer’s prefatory quote – that asks for the executant to control the interplay of lines so that the melody isn’t obscured by whatever is going on around it. A simple ternary structure holds what is essentially a study in finger pressure. Lee found no difficulties here, even if his approach to the middle Piú adagio section was to take it very slowly indeed with not much of an advance in pace for the final page. But you couldn’t fault his voice-leading discrimination and finesse of delivery.
For quite a few years, this pianist has been programming the two Op. 27 sonatas, not afraid to have his own way with the Moonlight C sharp minor work in the face of massive competition. He gave a spirited reading of the Op. 28, hitting an agreable speed and timbre for the opening Allegro, inserting his own rubato at proper points, as after the right-hand quintuplet in bar 108, even if making heavy work of part of the development, specifically between bars 177 and 190.
At about this point (late in the day, I know), it struck me that the Kawai instrument’s E below Middle C was out of tune; not that you noticed until those few occasions when the note was played by itself. But it made a minor distraction during the rest of the work.
While you could find justifications for much of Lee’s rhythmic ebb and flow, an unnecessary mini-pause at a spot like Bar 351 struck me as unnecessary: we’re familiar with the chordal progression and know where it’s leading; so, if you insert a break, the sequence is ruined.
In the following Andante, Lee gave an excellent rendition of the left-hand staccato patterns, present but unobtrusive which is a hard task to accomplish in this context. Every so often, that over-used series of right-hand thirds would lose the alto part, as at the end of bar 11 where the D got lost. But Beethoven’s deft agglomeration of motives from bar 53 on in the movement’s coda enjoyed a sensitive delineation with just enough hesitation to add an extra level of interest. As for the Scherzo, Lee gave it an unexpected heftiness which detracted from the potential sparkle in the little three-note figures that balance the movement’s distinctive octave whacks.
A glitch in the left hand octave passage work raised momentary alarm in the Trio‘s secunda parte; in similar fashion, some sequence work went astray in the stretch between bars 80 to 90 of the final Rondo and a right-hand arpeggio sounded incomplete at bar 119. But you had to admire Lee’s attack on the Piú allegro coda which turned into a bit of a momentary scramble half-way through. And the pianist brought out the easily flowing, potentially bucolic essence of the main theme with a keen sense of when/where to pull out the dramatic stops.
Finally, the two Liszt extravaganzas made an excellent impression. Unlike many another interpreter, Lee kept his birds in line before St. Francis arrived to preach his sermon; plenty of fetching twittering, but well-ordered and disciplined – unusual for Italian birds, let alone an open-air aviary. Nevertheless, the long-building crescendo to the great A flat explosion was a splendid accomplishment, despite a few missing notes, and the deceleration across the final pages proved to be well-spaced, the move back to bird-calls articulated with a fine eye for careful pacing.
More powerfully virtuosic writing comes in the second Legend where St. Francis of Paula encounters powerful seas and the chromatic urgency in the mini-tone poem’s central section proved exhilarating for the listener, although it tested Lee’s rapidity in hand positioning and register-changing vaults from bar 72 for the next 30 bars. Just as much as in the St. Francis piece, the eruption into a relieving E Major when the saint masters the waves was a splendid passage of high pianism, Lee’s powerful thundering a tribute to the composer’s ability to generate sonorous torrents from his instrument, as well as evidence of this performer’s sympathy with, and success in, performing some of Liszt’s more challenging constructs.
No matter what you think of the religiose backgrounds to them, this brace provides more than a series of technical hurdles, even if you cannot escape the suspicion that the theatrical scenes are heavy on make-up and lighting. Lee demonstrated that exemplary ability of carrying you along with him, despite the occasional wobble, so that you embraced the commitment from both creator and interpreter, even tolerating those slightly intrusive scene-setting accoutrements.