Excerpt from The Guardian, April 7, 2016...by Andrew Clements
His latest three Wigmore Hall recitals are devoted to the last three piano sonatas by each of the four composers. The central panel of this triptych began with Mozart’s B flat Sonata, K570, and went, via Beethoven’s Op 110 and Haydn’s Sonata in D HXVI:51, to Schubert’s A major Sonata, D959. The whole extraordinary span of music was delivered without an interval, indeed, without the pianist even leaving the platform between works, so careful was he not to break the intense spell his playing created.
AdvertisementAs always with such a thoughtful, inquiring pianist, not every interpretative idea was totally convincing. The Haydn and Mozart were immaculate performances, played with consummate musicality, using a palette of wonderfully translucent colours; the Beethoven was simply immense, with its first movement given a sense of unease by the edgy insistence of the left hand, and the final fugue built to a climax of huge power and glorious radiance. But a few things about the Schubert sonata puzzled – an overfussy treatment of the wispy scherzo, for instance, but most of all a curious feeling of immobility in the first movement, transforming what should be urgent into musical marble, very beautiful but static. A special recital, nevertheless.