A recital in two halves

ONE of the most distinctive aspects of Alasdair Beatson’s piano recitals is their programming.

His choice of works has been described as ‘canny and uncompromising’. Alasdair believes in the power of music to overcome an audience’s preconceived ideas.

We, in turn, are convinced by Alasdair’s intensity, demonstrated in his total involvement.

It was a recital in two halves: two 20th century works from Eastern Europe and two German pieces from the first 35 years of the 19th century.

Opening with Bartók’s Three Rondos on Folk Tunes, with their simple but disoriented harmonies and more disturbing low, darker musical ideas, Alasdair moved to the otherworldliness of Janácek’s final piano cycle In the Mists, which indeed dwells on ‘misty’ keys.

In introducing Beethoven’s late A major sonata, Alasdair shared with his rapt audience his belief in the composer’s optimism, a musical journey from a first movement that avoids the home key, through a lively march, and a profound minor key introduction to a finale that is bursting at the seams.

Beethoven was working towards a climax exploding on the then recently extended piano bass note of E Alasdair’s joy was palpable. Strangely these days, Schumann’s Carnaval seems to have fallen out of favour with pianists. Of its 22 sections, some depict masqued characters from a festival, others his friends or contemporaries and some imaginary – Alasdair gave us a whirlwind guide.

In the end we were drawn to Eusebius, Schumann’s code name for the dreamy side to his own character. The single page of music was repeated as the encore – it was the perfect end to a recital which will have made a lasting impression.

This was Alasdair’s fifth appearance in eight years in the Concerts in the West series.

Quite rightly, he has recently been added to the organisation’s esteemed list of patrons.

ANTHONY PITHER