United Kingdom Beethoven, Scriabin, Rachmaninov, Ravel: Alim Beisembayev (piano). Wigmore Corridor, London, 5.1.2024. (CC)
Beethoven – Piano Sonatas: No.23 in F minor, Op. 7, ‘Appassionata’; No.31 in A-flat main, Op.110
Scriabin – 4 Preludes, Op.22
Rachmaninov – Prelude in B minor, Op.32/10; Etude-tableau in D, Op.39/9
Ravel – Gaspard de la nuit
Alim Beisembayev gained the Leeds Piano Competitors in 2021 (he additionally gained the Royal Liverpool Philharmonic Society Award and the medici.television Viewers Prize that yr). It was a deserved win (though Thomas Kelly made fairly the impression, too). Beisembayev’s recorded Liszt for Decca (the Transcendental Research) is a stupendous achievement, too; so small surprise this was a completely sold-out live performance.
Certainly, with a repertoire that encompasses the Liszt Transcendental Research, it is usually maybe unsurprising that Beisembayev elected to start with Beethoven’s infamous ‘Appassionata’ Sonata (F minor, Op.57); unsurprising, too, that the finale’s Allegro ma non troppo was heavy on allegro with little indication of the ‘ma non troppo’; and but there was nonetheless room for acceleration for the coda (Presto), and for these hectic semiquavers to make their impact. The primary motion was underpinned by nervous power encapsulated within the throbbing repeated notes as outlined by Beisembayev’s consideration to element: a single-line descent which in different fingers might need come throughout as unremarkable and transitional was right here a line of completely pedalled mild. The hymnic opening to the sluggish motion (Andante con moto) was fantastically judged, however what got here throughout most strongly in Beisembayev’s studying was Beethoven’s debt to Bach, in his purity of supply. It was unimaginable to not discover the technical components (a supremely even left hand at velocity, for instance), however most of all this was a transferring expertise. The finale was the jewel within the crown, articulation an absolute pleasure, the journey to that coda expertly tracked. Beisembayev can lavish such care on element exactly as a result of he sees the larger image. It’s a profitable mixture.
Born in 1998, and due to this fact nonetheless in his twenties, it’s inconceivable that Beisembayev needs to be programming late Beethoven. And but, this was a efficiency shot by with knowledge means forward of his temporal years. Supreme management is clearly Beisembayev’s watchword, right here put to the service of pure unfolding within the opening Moderato cantable molto espressivo. From the off, Beisembayev created a totally totally different sound palette, and but one completely suited to Beethoven’s A-flat main. Linear working was once more of prime concern. The opening of the Allegro molto danced fantastically; whereas the Adagio ma no troppo, taken on the excellent tempo, made time stand nonetheless. It could be famous at this level simply how a lot Beisembayev held the viewers in his thrall: there was hardly any viewers noise all through all the live performance. The Fuga emerged fully naturally out of the Adagio, itself formed completely.
Attention-grabbing that for his Wigmore recital in 2022, Beisembayev opted for late Schubert (D 958) and I used to be lower than satisfied. His late Beethoven, in distinction, left me in little question as to his full grasp of this exceptional music.
One other chameleon shift post-interval, to the paranormal harmonies of Alexander Scriabin and his 4 Preludes, Op.22. These could also be quick items, however Beisembayev satisfied us they every include a complete world. The primary begins as if launching right into a post-Chopin Nocturne, however out of the blue darkened notably, the second was quietly impassioned, whereas the third, an Allegretto in B main, emerged as a swish dance. It was the fourth, in B minor, which was most exceptional, in that Beisembayev projected that work’s organicism towards its flightiness, including an additional layer of depth. He finds depth in Rachmaninov, too, each within the siciliano-like B minor Prelude from Op.32 (No.10) earlier than projecting the extrovert Rachmaninov within the block-like chords of the D main Etude-tableau that closes the Op.39 set. It was completely paced, and much more thrilling for it,
Lastly, Ravel’s Gaspard de la nuit, I used to be very taken by Emanuel Despax’s efficiency on the Wigmore Corridor in July final yr (Mark Berry’s evaluate right here); Beisembayev was of an equal exalted stage. Hardly ever have I heard the opening of ‘Ondine’ so even and but so atmospheric, not simply mild textured, however positively luminous. Each observe was audible, and but the totality created a magic net of sound. ‘Le gibet’ asks a lot of the pianist when it comes to cautious assault and articulation, and Beisembayev was infallible; extra, he sustained the environment completely all through. The finale (‘Scarbo’) introduced with it an attention-grabbing parallel to the ‘Appassionata’ with which the night started; these repeated notes have been again, equally replete with potential power. Maybe Beisembayev’s ‘Scarbo’ was only a contact missing in darkish ecstasy because the music seeks to blow up outwards all that trapped power. But this was a exceptional efficiency general … encores have been inevitable.
Solely two although, Chopin (Etude in A-flat) and Liszt, however it was the second (Transcendental Etude No.10) that actually caught the creativeness. Alim Beisembayev is, past doubt, a exceptional expertise, and on current proof a reasonably totally fashioned one, at that.
Colin Clarke
