Concerts at the Bridgewater Hall typically involve 60-80 musicians, depending on the orchestra or at the very least, a singer with a supporting band. To enter the auditorium and see just a single enormous piano on a large empty stage was quite a change to the norm. Even more so when the solo performing artist made a modest entrance with no announcement and after a quick bow, simply sat down and went straight into the concert without a word.
Sir Stephen Hough needed little introduction being quite possibly the nation’s finest living pianist, with an outstanding reputation. Clearly feeling no need to conform to the customary penguin suit with tails and bow tie, Sir Stephen emerged from stage right looking more like a James Bond villain wearing a grey, buttoned-to-the-neck jacket with the ice-cool demeaner of a Blofeld. (although without a white Persian cat). This was clearly no ordinary concert pianist and this was further evidenced by the remarkedly varied programme which included Beethoven, Brahms, Schubert, a couple 20th century heavyweights from Germany and Sir Hugh’s own remarkable re-working of famous tunes from the film ‘Mary Poppins’.
The opening piece by Schubert was seemingly chosen to demand the audience’s attention, being a jolty work that would stop and start in quick succession as heavy chords blended with high treble melodies. The next offering by Brahms was quite different with flowing complex chords making the piano sound at times almost like a harp. During the next piece, by Schoenberg, Sir Stephen relaxed the pace, deliberately exaggerating pauses for comic effect, which the audience clearly appreciated. With the first half concluded with a work by Stockhausen, a masterclass had truly been given in the exquisite versatility of the piano, encompassing the full range of emotions and moods.
The second half centred around German nineteenth century works starting with two pieces by Beethoven. This was followed by ‘Carnival’ by Schumann, with the clue being in the title, as this energetic price seemed to explode in all directions. The final offering was a medley of songs from the film ‘Marie Poppins’ but in a stunning new arrangement by Sir Stephen, who not only played around with the music but took it to another level as familiar tunes morphed in the realms of the experimental. Having intensely commanded the piano throughout the evening, Sir Stephen stood up to at the end with a calm, unassuming countenance and after the applause had died down, addressed the audience without amplification. The fact that it was very hard to hear what he was saying gave a pleasant feeling that this was an impromptu part of the performance and the maestro finally sat down once more to play a popular by Chopin as an encore.
The full-sized grand piano had served as a musical voice for Sir Stephen throughout the night but this was also a very physical performance. As well. He could be seen to almost shaking during some of the most dramatic moments then leaning right back in triumph after delivering the few power chords. He could be seen swaying from side to side as his hands moved back and forth across length of the keys and on other occasions was almost bouncing in the seat. Naturally, there were very passive moments where Sir Stephen touched the high notes with the delicacy of a surgeon’s scalpel. The passion and intensity was there in the pianist’s face as well during the playing but replaced by a relaxed composure once a piece was completed.
This was truly a musical tour de force as a master of his art demonstrated just what could be achieved with a single instrument. A very enjoyable evening.
https://stephenhough.com/performances
Reviewer - John Waterhouse
On - 12.05.26
No comments:
Post a Comment