Sydney audiences currently have the chance to hear renowned pianist Imogen Cooper in recital, as part of the 2014 Musica Viva International Concert Season. This is an exciting opportunity, with a substantial programme and exquisite playing on offer. It is also the week in which next year’s 70th anniversary season for Musica Viva can be discovered in all its diversity and quality.
When we consider the evolution of a modern instrumental virtuoso, there are now several points of difference with the celebrity concert soloist from centuries ago. Character, flamboyance and the flashing of bravura for fans once was enough to satisfy audiences. Now virtuosi cannot live on bravura alone.
These days, providing a variety of recital programming, being an ambassador for the instrument and its key composers, and providing an intelligent historical snapshot are crucial in satisfying a discerning and often well-informed modern audience.
Imogen Cooper succeeds in fitting this model. In a spoken prelude to the recital’s second half, the pianist shares aspects on how to devise a modern recital event with us, linking strands of the thirty-two year period of music covered by her current recital.
On this tour music from Brahms, Schumann and Schubert is used as a vehicle for displaying some exquisite pianism. The capabilities of the instrument for which Imogen Cooper is an exponent are demonstrated in detail.
The recital begins with Schumann’s Novellette Op 21 No 2 in D major, constructing a myriad of interior keyboard architecture and shifts in tone colour. Her playing of the contrasting central section is a move to captivating lyricism.
The inclusion of Brahms’ arrangement of the Theme and Variations in D major from the Opus 18 String Sextet is played with gentle virtuosic clarity and expert keyboard rendering of the converted string intensities as the versatility of the piano is celebrated.
This program features spellbinding moments where the fine City Recital Hall acoustics carry some penetrating soft playing. As well as being exceptionally in control of the softer dynamic spectrum and knife-edge contrasts in dynamics, Cooper also takes us on two especially incredible journeys in the development of Romanticism.
The first is a journey in the juxtaposition of contrasting extra musical elements. Schumann’s eighteen-part Davidsbündlertänze, Opus 6 is a mighty set of kaleidoscopic pieces to insert into any recital. Here Schumann’s shifting emotional postures and variety of piano gesture are well harnessed. It is a fresh presentation of an extensive work to be envied by any musician promoting the communicative power of their chosen instrument.
A true triumph with regards to control and interpretative skill required of a virtuoso pianist is to be witnessed in the recital’s second lengthy journey. In Schubert’s Piano Sonata no 21 in B flat major D960, Imogen Cooper meets these challenges of structure, evocation of atmosphere and keyboard manipulation as she expertly delivers Schubertean melody and the works changing moods. The restrained Andante sostenuto movement continually lays out exquisite sound before us.
As an intelligent modern virtuoso performer, Imogen Cooper encourages us to join her in paying respect to the chosen era highlighted in this tour. She showcases her instrument and drenches us equally in dreamy depths and stunning bravura.
Only one more opportunity remains to hear Imogen Cooper in Sydney. This is at the City Recital Hall on Saturday 23 August 2pm, with a Meet the Artist session to follow hosted by Australian pianist Anna Goldsworthy.
For more about Imogen Cooper, visit http://www.musicaviva.com.au