United Kingdom R. Schumann and Chopin: Maurizio Pollini (piano). Royal Competition Corridor, London, 23.6.2023. (MB)

R. Schumann – Arabesque in C main, Op.18; Fantasie in C main, Op.17
Chopin – Mazurka in C minor, Op.56 No.3; Barcarolle in F-sharp main, Op,60; Scherzo No.1 in B minor, Op.20

‘Who’s the world’s biggest pianist?’ is a foolish query, though human beings have lengthy been vulnerable to ask and certainly to reply foolish questions. As long as it stays on the stage of the parlour sport, it in all probability does no nice hurt, although it’s unlikely ever to light up both. For greater than half a century although, Maurizio Pollini has stood as one of many world’s biggest: not merely, and even principally, from the standpoint of method, awe-inspiring as that lengthy was, however as a musician of penetrating intelligence and insights, dedicated equally to classical and new repertory. Whether or not in Beethoven or Boulez, Chopin or Stockhausen, Pollini at his finest would possibly often be equalled, but, permitting for vagaries of style and opinion, by no means surpassed.

Extra not too long ago, that fabled method, out of which have been born and shaped performances of white-hot depth, has proved extra fallible. It has generally taken Pollini a bit of time to ‘get going’ in a recital, although the second half and encores have no less than tended to indicate him nonetheless at his finest. This Royal Competition Corridor look, postponed from earlier within the 12 months, supplied uncomfortable listening – and viewing – but in the end proved a triumph of the human spirit, one which concerned viewers heat, involvement, and encouragement too. There have been flashes and generally greater than that of the youthful musician alongside the reminiscence lapses. As we progressed in direction of the top of the recital, aided now by sheet music and a web page turner, Pollini confirmed one thing much more invaluable than the form of interchangeable, note-perfect feat of virtuoso execution one would possibly hear from some. For these of us who’ve grown up with him, it was a night of very combined feelings, however it was in the end an opportunity to recollect the journey now we have taken with him, how a lot now we have realized from it, and the way a lot we will proceed to take action.

Robert Schumann’s Arabeske advised Bach led in new garments into the age of Romanticism. The whiteness of C main sounded pristine, uncommon, and but removed from susceptible, possessed of a power belying a lot. Florestan and Eusebius offered themselves and did various battle all through the work’s episodes and return. The epilogue specifically was really touching, gentle but decisive in piercing of the center. The Fantasie opened with a way of its better scale and ambition, reference seemingly made as a lot to the venerable historical past of the keyboard fantasia as to Schumann’s extra apparent factors of nearer reference. There have been passages of excessive Romantic vehemence when poise returned, although in the end a efficiency of the entire was to not be. That setbacks had neither pianist nor viewers quit, although, was one thing during which to take solace and at all times to recollect.

A plain-spoken Chopin Mazurka in C minor opened the second half, unhappiness seeping by way of because it should. Repeated rhythms and chromatic inflections took on better, metaphysical that means in context. Within the Barcarolle, the waters rose as soon as once more, the gondola took flight, and surveyed acquainted but ever-strange landscapes, maybe for the final time. One by no means is aware of — and for that cause ought to at all times take advantage of what one has. The B minor Scherzo offered tumultuous flashes of previous: partly muscle reminiscence, likely, for there’ll at all times be one thing of that in any efficiency. Nevertheless it was not solely that; anger, tenderness, and extra got here to the floor by way of a cantilena that was unquestionably the actual factor.

Mark Berry