Beethoven : "Eroica" Variations, Op. 35
Debussy : Images, Book 2
Ravel : Le Tombeau de Couperin
Selim Mazari, piano
The first thing to occur tonight was that Selim Mazari pulled a "Trocks" on us - he walked on stage and announced a significant change of programme from the printed version. No reason was given, and I don't know any of the organisers well enough to find out why, but that said, the composers represented remained largely the same. Only Chopin was dropped completely.
Instead of Beethoven's Piano Sonata No. 16, we got the almost contemporary, but even more ambitious (both technically and musically) "Eroica" Variations. Beethoven was a particular master of the variation form, there are around 20 sets for piano alone, not to mention those written for other instruments and in other works. As is to be expected, the range and variety of form explored is substantial and testing. Judging from his musical c.v., Mazari appears to have a particular fondness for Beethoven, but although the performance on the whole was good, it lacked that indefinable something that truly identifies Beethoven. There was, however, a moment in the arpeggios of the eighth variation, with its crossed hands, where I was hearing a hint of the future Schubert, and thought that it might be interesting to hear Mazari in that repertoire rather than Beethoven.
Similarly, the Debussy just seemed to miss the mark too. To call Mazari's playing heavy-handed is putting it too strongly, but there was a little too much weight to these pieces, which are some of Debussy's most evanescent, even strange music. He did not seem able to draw the listener in to these subtle, evocative pages, and just skimmed along the surface. The Ravel was given a stronger performance generally, with the Rigaudon and the Menuet particularly noteworthy, but you need steel fingers to play the Toccata flawlessly, and at the end of the concert, Mazari's were clearly a little tired.
Mazari is not quite 24; the only other pianist of his age-group whose work I know well is Benjamin Grosvenor. I've not had the pleasure of seeing Grosvenor live, but have heard a good deal, thanks to the radio, and to be honest, at present there's no comparison. What is evident is that Mazari is not an instinctive musician in the way Grosvenor is; he is going to have to learn to express himself through the music he chooses to play through trial and error and hard slog. On the other hand, he is not an automaton, merely churning out notes, and his interest in the music is genuine, as was clear from his commentaries to the audience. There is potential there, though it may take a little while longer to unlock fully.
[Next : 9th August]
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