Music

Leif Ove Andsnes

Wigmore Hall

5/5

Northern grace

On a very cold January evening, it felt appropriate to be transported to the North, for a Norwegian first half and then a Polish segue in what was an impressive display of elegance and class from the masterful Norwegian pianist Leif Ove Andsnes.

The early Grieg’s piano sonata in E minor Op. 7 was delivered with precision and smart interpretation of structure which left no random fragment out of its encompassing light hold. The first movement transferred us to the soundscape inevitably moulded by Northern geography. The second movement was enchanting in its lyric simplicity and the third increasingly fragmentary, the whole establishing a pleasing resonance with Chopin’s work in the second half. Andsnes’ effortless interpretation was an excellent reminder of Grieg’s unique style. As the evening went on, audible connections between the pieces continued to build up and consequently listening became all the more satisfying.

The second piece, Piano Sonata No. 29, ‘Sonata Etere’ (Ethereal Sonata) provided an opportunity to discover the Norwegian composer Geirr Tveitt (1908-1981), hardly known outside of Norway. It was obvious that introducing this music to a wider audience was something close to Andsnes heart. We found out that although 29th, this is the only surviving piano sonata by Tveitt, the rest of them having perished in a fire which consumed two thirds of his opus. Andsnes reassured us that fortunately this also happened to be the composer’s favourite. Direct throughout, with a folkloric base, it created a fascinating sound world, with powerful rhythmic discordances which reminded of Prokofiev and ethereal developments reminiscent the French impressionists, the combination of the two providing interest of itself. It is a strong inventive piece and deserves to be better known.

The second half offered a millefeuille of Chopin’s 24 Preludes Op. 28, one by one, some short and anecdotal, others longer and more substantial, contrasting throughout in lyricism, virtuosity and drama. The famous No 4 in E minor stood out for its incredibly refined interpretation, No 8 in F-Sharp Minor for its simple brilliance, and the final No. 24 in D minor for its smart and measured development of tension and meaning. In the hands of anyone else, this may have sounded like a light interlude or a concession to the audience for having braved the weather to listen to an unknown robust piece by Tveitt. But Andsnes has a special gift for avoiding all sentimentality and building meaning brick by brick, with a great sense of measure. Unexpectedly the set as a whole had a satisfying shape, containing surprising variety and vitality. Chopin is perhaps played too often to be profoundly appreciated, but in the right hands, you can hear his greatness anew.

The choice of the encore was not accidental. The beautiful colours of Debussy’s La cathédrale engloutie provided an appropriate synthesis of the evening. The echoing bells from Tveitt’s piece and the bright Chopin textures here evolved into the concentrated plenty of Debussy’s visions.