<< -- 2 -- Malcolm Miller BEETHOVEN PREMIÈRE?
Kuethen's version was premièred in 1995 by Mûza Rubackyté
on early instruments, but Sunday's UK première, with the Vilnius
Quartet, a leading Lithuanian ensemble founded in 1965, joined by guest
violist Vinciane Beranger, also marks the modern instrument première
of the piece. Mûza Rubackyté is a formidable Lithuanian virtuoso
currently resident in Paris (who last week gave a Wigmore Hall recital to
mark the 11th anniversary of Lithuanian Independence -- see
my review) and the Vilnius Quartet is a leading Lithuanian group with
a distinguished international career. On this occasion, led by Audrone Vainunaite,
their ensemble was impeccable, and the cello of Augustinas Vasilauskas was
especially polished and providing strong underpinning. The performance was
exceptional, with structural clarity, rhythmic precision throughout and
Rubackyté's scintillating technical control to articulate the
magical key shifts and lyrical interludes, with gentle shading and warm
string support. Aesthetically, however, the central question for me was
how far the new version was a scaled-down concerto, and how far it was succeeded
as a new and autonomous chamber work, a question which the performance helped
to answer.
Historically, there are precedents, quite apart from Beethoven's
own numerous self-arrangements: Mozart composed a set of concertos in alternative
versions, for full orchestra or for string quartet. Played as a piano quintet,
those works retain their musical charm and elegance, yet the orchestral
versions are clearly richer with the added woodwind and stronger string
sound. Similarly in this case, for the fourth piano concerto is one of Beethoven's
most intimate and expressive, notably the second movement Andante
in which the piano 'tames' the fierce unison strings of the orchestra
into submission, the initial dialogues transformed into a free rhapsodic
cadenza. And perhaps it was this movement that was most effective, in which
the pianist was careful to scale down her own performance to match the ensemble.
As a result the dialogue and sonority of the second movement was especially
evocative, and if the confrontation of strings and piano was slightly less
fierce than in the orchestral version, the sonority of the string support
sustained suspense and was always engaging.
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Copyright © 28 April 2001
Malcolm Miller, London, UK
MÛZA RUBACKYTÉ'S LONDON RECITAL
KUETHEN'S STUDY AND RELATED RESEARCH IS FEATURED IN THE LATEST ISSUE OF ARIETTA, JOURNAL OF THE BPSE
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