Elvis lives?

The healthy-sized audience that gathered at Kings Place yesterday for the opening night of the Hungarian Liszt festival (and Hungarian it was - I only heard two or three other people speaking English) arrived with high expectations of the brilliant young violinist Barnabas Kelemen and his duo partner Gergely Boganyi. But I'm not sure any of us anticipated the discovery that Elvis is alive, well and playing the violin. Kelemen strode on stage sporting the hair, the sideburns, the charisma and a slightly incongruous Chinese silk jacket; alongside him, Boganyi was long-legged, long-fingered and long-haired, clad in a shiny silver suit. They were quite a duo before they'd even begun.

This recital began literally where others end, plunging into the Bartok Romanian Dances with all the energy and earthy passion of musicians who have already warmed to their task and need no moment to test the water or coax in their audience. Instead, they just grabbed us. And there's no arguing with musicianship like this. Kelemen is a full-on virtuoso and makes no bones about it: his sound is huge, almost too big for KP, not invariably beautiful, but bursting with personality. Yet what struck me at every turn was the musical intelligence behind the charismatic showman: in the four Liszt pieces, he and Boganyi slid elegantly into that metaphysical soundscape between water and sky so characteristic of Liszt at his most spiritually removed, especially alive to the chilling and lonely visions of La Lugubre Gondola; the Romance Oubliee, too, was as delicate and elusive as anyone could hope.

Perhaps the biggest test of all was the Faure A major Sonata, which might seem an odd companion piece for the Hungaryfest, but bears traces of Liszt's influence via that of Saint-Saens, certainly in its fiendish piano part (I've played it rather a lot, struggling with the sensation I was doing the dog-paddle up an Olympic swimming pool). Boganyi made it sound all but effortless. I'm told that this admirable, clear-toned and sensitive pianist gave the complete solo works of Chopin last year at the Budapest Palace of Culture, in two days flat.

Mercifully lacking any English preconceptions that Faure should be pretty, floaty and over-refined, they really went for it. The work is pure passion, a wonderful, optimistic, sensual love-song for Marianne Viardot (Faure kept writing to her of "our sonata" during their brief engagement, and this was it). But being truly passionate doesn't mean bashing the hell out of something - quite the reverse - and it was the way Kelemen spun the melodies that impressed so much, shaping the drawn-out phrases with lines as long as Proustian sentences; and the variety of colours and shades of expression he is able to conjure, with varied vibrato and all-giving bow (plenty of flying horsehair). In the glitter of that nearly-an-optical-illusion scherzo, each pizzicato had a different shade of meaning. No repeated phrase was the same twice; no automatic pilot, thanks very much. Each moment lived, breathed and spoke. Faure's glorious elan shone in the sunshine, taking the sky and revelling in its breathtaking beauty.

As if that wasn't enough, Kelemen and Boganyi picked the Sarasate Zigeunerweisen by way of encore. First, Kelemen told us first about his famous Gypsy violinist grandfather, who died before Barnabas was born but has been captured on film (we've featured him before on JDCMB, but here he is again in case you missed it!). "There's one style we haven't played yet," said Kelemen, "the Gypsy style. I hope you all like Gypsy style..." Kelemen's grandpa would have been proud of the dash and devil-may-care daring with which Zigeunerweisen zoomed through Kings Place, some of it right on the edge of possibility in terms of speed. No safety net; no need for one.

Kelemen is one of very few violinists who can embody the ideal meeting of the Gypsy and Classical styles, understanding both from the inside and bringing out the best of both worlds. And not because of his "blood", but because of his musicianship. Though I do remember reading somewhere that Elvis had some Roma extraction too...

Catch him again on Saturday, playing Bartok's Violin Concerto No.1 at the RFH with...the LPO and Jurowski.

Action, please

A few fabulous musical events this week and next, all of which deserve that elusive thing called an audience but, being at Kings Place, are not as yet assured of having one. I reckon music-lovers just haven't clocked yet that this terrific venue exists -- it's not in a place where you can exactly bump into it. Get on your hiking boots and balaclavas and head for Kings Cross:

Today til Saturday: BIG HUNGARIAN LISZT BICENTENARY FESTIVAL with ace fiddler Barnabas Kelemen, Dezso Ranki & Edit Klukon who will play the Faust Symphony on 2 pianos, brilliant clear-toned pianist Denes Varjon, the Joyful Company of Singers and many more. Barnanas is first up this evening, and there's a pre-concert talk by Karl Lutchmeyer. But please ignore the note online saying that Barnabas is playing Liszt's 'finest violin sonatas' - you're right, there aren't any - he is actually playing Liszt's own violin version of some great piano pieces. And Bartok Romanian Dances and First Rhapsody & Faure's Sonata No.1. Full programme here.

Next week: TASMIN LITTLE AND FRIENDS in 'VIOLIN JOURNEYS'. Tazza, John Lenehan, Piers Lane, Paul Watkins, David Le Page and more in a fiddletastic whirl, plus mesmerism, masterclasses and Messiaen. (Infuriatingly, I am going to be elsewhere next week, but if I wasn't, I'd be there.) Here is Tasmin's sneak preview podcast.

BUT even if you do nothing else today, please read this inspirational and impassioned speech by the fabulous author Philip Pullman about the perniciously stupid, absolutely misguided current plans to close down our libraries.

A Leap of Faith, aka Mozart from Daniel Ben Pienaar

OK, I know this animation isn't exactly JDCMB usual style. But I want you to hear the piano playing on the soundtrack. Currently it is all I can find on Youtube of Daniel Ben Pienaar playing the Mozart piano sonatas.  

Pas mal, hein? I've recently been sent the complete set to review -- it is just out on Avie Records, though the above video suggests that bits have maybe been floating around Magnatune for a while -- and as a whole it's the most fresh, vital, intelligent, inspiring Mozart playing I have heard in literally years.

If you enjoyed my post 'Let's hear it for.. the Mozart Piano Sonatas', then you'll love this recording. Daniel Ben plays the C minor Fantasy and Sonata as if it has stepped straight out of Don Giovanni. The sicilienne slow movement of the early F major sonata is as raw, painful and amazing as that of the big A major piano concerto or Pamina's 'Ach, ich fuhls..'. There's brilliance aplenty, too, as you can hear above. But essentially DBP (as a growing circle of pianophile admirers call him) meets the sonatas head on, throws out all the silly received opinion crap about them being tinkly salon pieces or rarified only-for-fortepianos early stuff, and embraces them as the full-on, every inch WAM, works of genius that they really are. I'm far from being the only critic who loved them: he's been highly praised in The Sunday Times and Gramophone as well, for starters. Get the album here.

So where has DBP been all our lives? I first came across him some while ago when he was recording Bach -- his Goldberg Variations is again among the richest, most thoughtful and provocative accounts of the work I've come across -- and I know he lives somewhere in London and teaches at the Royal Academy of Music, whose principal, Jonathan Freeman-Atwood, is the producer of the Mozart set and has recorded trumpet and piano works with him. He is South African and won the big competition in Pretoria a while back. He has also recorded more Bach, Orlando Gibbons (yes, on the modern grand, and jolly good it sounds) and lots of Schubert.

But that animation isn't so silly. In recording all the Mozart sonatas, and not being afraid to make his own very personal and profound statement with them, DBP has indeed taken a leap of faith. He has the air of an artist who will take a plunge from a high tower and sprout wings at the crucial moment. In the week of Mozart's birthday, I'd like to suggest that perhaps this set will be those wings.

Speaking of wings, those who tweet might like to know that there'll be a Mozart party on Twitter on the birthday itself, Thursday 27 Jan. Use the hashtag #mozartchat ... see you there.
@jessicaduchen

Friday Historical: Menuhin and Kentner play Schubert

There is nobody like Schubert. There was nobody like Menuhin. There was no pianist like Kentner. So, just because we can, just for the sake of incredible music and musicianship, here they are. For the rest of the recording, click through the video to Youtube and you should find the other three parts pop up in sequence.

A Magical Musical Tour at Southbank Centre

Here's my piece from today's Independent: meet Olly Coates, artist-in-residence at Southbank Centre and "curator" of the Harmonic Series. All you have to do, for a fiver, is pitch up by the box office at 7.45pm on the appointed day and Olly will lead you to a surprise space for a weird and wonderful mix of magical new sounds. No.1 is on 30 January with pieces by, amongst others, Michel Van Der Aa, Zemlinsky, Mara Carlyle and, with Streetwise Opera, Emily Hall's The Nightingale and the Rose. But where? Dunno. See you there.