Pictures of pianist Stephen Hough who is currently touring for Musica Viva, playing Schubert, Franck, Liszt and his new composition, Piano Sonata III ‘Trinitas’
Pianist Stephen Hough’s recent recital in Sydney was presented by Musica Viva as part of its 2016 International Concert Season. It was a programme which showed him to be a musician whose interpretation of the works shows profound preparation and superbly expressive results.
As the music unfolded we witnessed Hough as artisan, athlete, engineer, composer-pianist and sonic landscaper. The touching expression and structure of works from Schubert, César Franck, Liszt, and Hough’s new serialist piano work shone in his hands.
The thoughtful treatment of musical line, melody and pianistic effect throughout the recital offered the audience plenty of memorable moments to enjoy whilst encountering the full arc of each composition. Hough created mood events of incredible colour. Each vivid atmosphere was drenched in a large range of nuance.
To open the recital we were exposed to the unique but beautiful melancholy of Schubert via his Piano Sonata No 14 D784 (1823). The earliest work in this programme, this dark sonata from the final five years of Schubert’s life was played with a satisfying swoop through its emotional territories. Here especially Hough’s remarkable soft playing dazzled. Schubert’s gently ominous pendulum lilt alternated with exciting chordal passages.
The third movement of this sonata with its uneasy runs that constantly overlap and change direction was a section of this work delivered with measured subtlety. The intimate clarity of this finale displayed the tasteful communication, technical facility and poignant emotional results Hough continued to achieve at the keyboard in this recital.
Following this Schubert work was César Franck’s Prélude, Choral et Fugue (1884). Franck’s expansion on the traditional prelude and fugue format contains a multi-layered texture for the pianist to negotiate. Hough’s navigation through the tender rippling moments always possessed a fulfilling forward-looking aspect.
This work’s complex filigree was always firmly anchored, allowing key melodic motifs to sing clearly. The balance between melody and dense accompaniment was well maintained even in Hough’s personal rendering of some sections at an extremely quiet dynamic level. Contrasts were excitingly highlighted in the work. The interplay of fugal voices and other material satisfyingly led to the virtuosic conclusion.
Following interval, we heard Stephen Hough’s Piano Sonata III ‘Trinitas’ (2015). The work, a commission from a Catholic magazine, demonstrated an imaginative blend between serialist technique from last century and programmatic ideas surrounding tension, resolution and concepts of the Holy Trinity.
This exploration of the serialism brought a wealth of interesting pianistic textures whilst satisfying all demands of the strict avant-garde method. It confirmed a hefty intellectual dimension to this recital from Hough the pianist also known as a true polymath and his significant success as a pianist-composer.
The remainder of the recital was devoted to music by another pianist-composer, Franz Liszt. Two of the Valses Oubliées S215 (1881-84) and two Études transcendantes S139 (1852). The performances again showcased Stephen Hough’s ability to brilliantly juxtapose the music’s bravura passages with moments of delicate poetry. The final etude was an exciting technical tour de force. It was followed after several ovations by encores with yet more intimate lyricism, poetry and poise.
Stephen Hough continues his national tour until May 2, with concerts in Brisbane, Canberra, Melbourne and Perth.