Imagine for a moment that you are at, say, the Derby. It’s pretty good. But then in flies Pegasus, the mythical winged horse. What happens?
We need to talk about these rare moments of almost inexplicable magic in concerts, because unless I’m massively mistaken, that is one crucial factor that keeps us going to them. Perhaps you’ve witnessed one. Something happens. Some might say that a spirit descends. An atmosphere comes to surround us and we all sense it, musicians and audience alike, and we lose ourselves in it together. Welcome to Milton Court’s evening with the Doric String Quartet and pianist Benjamin Grosvenor, with a spot of Chopin...
Heads-up: Grosvenor and the Dorics are back in late May for the other Chopin concerto plus the Dvorák Piano Quintet in A major. Grosvenor gives a recital on 16 May at the Barbican.
Last night I was describing the musical work of the painter Norman Perryman to some artistic friends who were young in the 1960s. "That's rock'n'roll!" they declared. It is. And it's also going to rock Symphony Hall Birmingham next Saturday, when Perryman and his projectors join the CBSO and Mirga Gražynitė-Tyla to perform The Sea by the composer and artist Mikolajus Čiurlionis, Lithuania's most celebrated artistic figure, one whose music is hardly ever heard in the UK – though Mirga, herself Lithuanian, is about to change all that. Čiurlionis's combination of musical and visual artistry makes him the perfect outlet for Perryman, who creates "kinetic painting" live in concert.
Video trailer for Saturday from the CBSO:
As I have adored Norman's work for years, yet never before had the chance to see him in action in a top UK concert hall, I thought we should ask him for a guest blog. He has kindly provided one, so here it is. JD
SEEING IS BELIEVING
A guest post by Norman Perryman
“What? Are you crazy? Have you ever done this before?”
“Yes, for 45 years or so.”
For years, I’ve been trying to verbalize what I do – create a hybrid art-form of flowing colours and light in synch with the music. Unlike a framed static painting, this painting only exists in real time – for as long as the music lasts. Instead of using computer-generated images, I use my hands, as musicians do. My instrument is my paintbrush. I don’t just improvise. I memorize the score, mark it up with my choreography for brushstrokes and colours, then practise for months before the performance.
Rather than synthetic pixelated images, I prefer pure analogue fields of flowing colour that touch our emotions with their organic properties. When these watercolours are magnified with my overhead projectors onto a ten-metre wide screen as I paint, they acquire an other-worldly quality. But words fail me - seeing is believing.
Every day now in my studio, as I practise my lyrical expressionist painting for a performance of the symphonic poem The Sea, by Lithuania's national hero the painter/composer M.K.Čiurlionis (1875-1911), I feel deeply moved. By the end of this 35-minute piece I’m almost in tears, with a sense of having plumbed the depths of his “boundless longing” for a sublime mystical experience with Nature. After months of work, his music is in my blood, in my ears, day and night. I feel we know each other. It’s time now to show this to the world.
Widely regarded as one of the precursors of European modern art, Čiurlionis was steeped in the cultural philosophies of his day, in his case visualized in hundreds of paintings of mystic symbolic landscapes, seascapes and fantastic architecture. It would be totally inappropriate to try to imitate his paintings. Instead, I take my inspiration from his music to show in my own style of painting, how visual and emotional his music is. Had he lived longer, he might have become one of the early film composers, who knew how to underscore the drama of the movies. I myself underline the emotions of the music with my own movies of abstract lyrical images.
I shall never forget the moment when two years ago the new Lithuanian CBSO Music Director Mirga Gražinytė-Tyla flipped through one of my heavily marked-up scores and exclaimed: ”Aha… you paint the music!” Then, after 20 seconds fast-forwarding through a video-trailer of my Scriabin’s Poem of Ecstasy, she looked at me very thoughtfully and said: “We must work together, with Čiurlionis”. The obvious choice for my fluid watercolours was The Sea. I spent the following summer travelling in Lithuania, to soak myself in its rich culture and nature. I felt I was in the very heart of Europe. That visit and following studies played an essential part in my understanding of The Sea and of the amazing man who wrote it.
How did it all start? As a Birmingham art-college student in the early 1950s, I couldn’t afford lunch, so my lunch-times were spent at free concerts given by the City of Birmingham Symphony Orchestra just across the road in the Town Hall. I was wrestling with the choice of studying music or art. My compromise was to dedicate my life to finding a way of satisfying two passions, by bringing these art-forms together. Forty years later, it was the visionary Simon Rattle who recognized my ambition. He suggested working together with his CBSO and in 1993 BBC Television filmed the results in the documentary entitled Concerto for Paintbrush and Orchestra. Since then, after 25 years of performances worldwide, it feels like coming home to be back in Symphony Hall, this time via a pathway that led to Lithuania, of all places.
But I was also appalled with the realization of how tragic and complex the history of Lithuania is, despite having been the largest and one of the most prosperous countries in Europe. Many of us are ignorant of the significance of this tiny country and of the many cultural heroes it has produced. Did you know that Jascha Heifetz, Philip Glass, Bob Dylan, Sean Penn, Leonard Cohen and our celebrated author Jessica Duchen, to name just a few, all have Lithuanian roots? [another story, that - JD]
It’s been a long road, so this performance with Mirga and her CBSO in Birmingham Symphony Hall on 16 February, Lithuania’s Independence Day, is a huge milestone for me. I’m proud to play a modest part in the ongoing cultural renaissance of the city where I was born.
Many years ago, in another century, in what feels like another lifetime (though was merely the 1990s) I used to edit a piano magazine. It was the UK's first independent piano magazine, named Classical Piano, and its creation, lifeblood and later eventual absorption into one of its fast-springing rivals is now ancient history. While there I published an article by a then-youthful Russian pianist, Rustem Hayroudinoff, about what the Russian School really means.
It was one of the most informative and interesting articles we ever ran, I think. So I was more than delighted to log on to Rustem's website and see that he has now revised the article and much expanded it, complete with all mod cons such as recordings from the likes of Rachmaninov, Chaliapin and Neuhaus, to name but three. Rustem is now a professor at the Royal Academy of Music and has made some stunning recordings himself, notably of Rachmaninov.
A great deal of confusion surrounds the term “The Russian Pianistic Tradition”. This phrase has been applied to any successful pianist coming out of Russia - often conjuring up images of fire-eating virtuosi scooping up competition prizes. And very often musicians with aesthetic principles as different as those of, for example, Sergei Rachmaninoff and Sviatoslav Richter are mentioned in the same breath as being representatives of the same “great Russian School”. To discover the true meaning of this term, I am going to look at some common features in the pianistic principles of several performers who belonged to this tradition.
Even the most superficial acquaintance with the recording legacy of pianists such as Sergei Rachmaninoff, Josef Lhevinne, Josef Hofmann, Vladimir Horowitz and Heinrich Neuhaus reveals that all of these pianists possessed an exquisitely beautiful tone. Their incredible achievements in this area were due to a very conscious cultivation of singing tone and colour on the piano, as the following quotations illustrate.
Josef Lhevinne dedicated a long chapter of his Basic Principles in Pianoforte Playing to “the secret of a beautiful tone”, in which he explains how a “ringing, singing” tone is to be achieved: “The main principle at first is to see that the key is touched with as resilient a portion of the finger as possible, if a lovely, ringing, singing tone is desired ... Just a little further back in the first joint of the finger, you will notice that the cushion of flesh is apparently more elastic, less resistant, more springy. Strike the key with this portion of the finger, not on the fingertips as some of the older European methods suggested ...”
He also emphasises the role that the free wrist and arm play in the production of a good tone: “... the wrist [is] still held very flexible so that the weight of the descending hand and arm carries the key down to key bottom, quite without any sensation of a blow.” And “... when the hand descends, as large a surface of the fingertip as feasible engages the key; and the wrist is so loose that it normally sinks below the level of the keyboard.”
This last passage holds particular interest because it testifies to the fact that Horowitz’s famous flat finger-low wrist technique was not a mere oddity but an integral part of this same tradition which he took to its extreme in the pursuit of his ideal of a singing tone...
Radu Lupu in rehearsal.
Photo from New York Review of Books, nybooks.com
The chairs were out for the returns queue at the Royal Festival Hall on Sunday night. Word was spreading that this might be the last chance for London to hear Radu Lupu play. He has long preferred to avoid the capital's concert halls - whether because of iffy acoustics, acidic critics or other reasons I could not say - and an appearance with the Philharmonia Orchestra and conductor Paavo Järvi for Beethoven's Fourth Piano Concerto looked almost too good to be true.
Lupu, 73, is tall and imposing on the platform, yet somewhat frail in gait and balance. His Beethoven came through in parts almost as a memory of the concerto. Yet the unique quality of his playing lies in the touch itself. It's the transparency of tone, the cushioned finesse of it, and the way he turns a phrase that, in a matter of a few notes, suggests a deep, empathetic humanity and a profound love for the music.
He uses a chair rather than a piano stool and sits at the keyboard almost as others might at a desk, as if making notes (in every sense, of course). He's thinking aloud with his hands. His playing is a form of writing, a direct channel from mind and spirit. And it is quiet, fabulously so. Rather than slamming out sounds to reach the back of the auditorium, he pulls the audience in towards him, forcing you to listen.
A few memory lapses were accompanied by a half-humorous dismissive gesture with one hand; and in the final movement's cadenza he wasn't above turning a pause into a joke, catching Järvi's eye as if to say 'OK, wait for it....' Järvi proved the perfect accompanist, deferring to Lupu but keeping everything gently on the rails, perhaps stoking up the orchestral energy if the solo line had wandered into the realms of introspection just before.
One hopes that the suggestion Lupu might be winding up his concert schedule this year is not true, but it wouldn't surprise me if it is. I'm sure I wasn't the only person present who listened to his exquisite encore of Brahms Op.117 No. 1 - the darkest of whispered lullabies - with a fearful lump in the throat.
Järvi, having proved himself a master of managing energies, did so again in the second half, with a taut, glistening, impassioned account of the Rachmaninov Symphony No.2. It was the perfect cathartic finale for a rather emotional concert hall, and as an interpretation it had the glorious variety of a great epic narrative: the elemental fire of Tolstoy, the fantastical colours of Bulgakov and the aching passion of Chekhov. The Philharmonia played as if their lives depended on it.
The legendary Romanian pianist Radu Lupu is performing Beethoven's Piano Concerto No.4 at the RFH with the Philharmonia, conducted by Paavo Järvi. It's pretty much sold out. But Lupu does not play in London every night. In fact, he hardly ever plays in London. To say this is a rare sighting is not saying enough.
And before you ask, the answer is no, I haven't: he doesn't do interviews. The RFH website says he has not given a press interview for 30 years. The best I can offer you is that he used to play bridge with my former piano teacher back in the 1970s-80s; and I met him once backstage in Lucerne, where he was utterly charming, funny and kind.
