(4 / 5)
It’s rare to see anyone make it to one hundred years old. Even for composers, this is such a non-occurrence, other than Elliot Carter and Leo Ornstien (who amazingly lived through three centuries) that it should always be cause for celebration. György Kurtág, the Romanian composer can now be added to this short list, as he turned a century old back this February.
Perhaps best known for his Játékok, or ‘Games’, this is spiralling catalogue of mostly piano music spanning over fifty years. Consisting of over four hundred movements, Kurtág was adding to its mass as near as 2021. What I do remember fondly is the full, mesmerising performance done at the Royal Academy of Music in London in 2024, Joanna MacGregor played with twenty piano students. This was an all-day affair and roughly the music of Játékok lasted six and a half hours.
What has felt more exhausting was the three concerts at Wigmore Hall this weekend, spread out over a near twelve-hour period. Pierre-Laurent Aimard, who was a pupil of Oliver Messiaen, has chosen his selection from this epic piano saga, with musical choices of Bach, Beethoven and Schumann at each step, or as billed here: ’Breath’. Arriving on stage for the morning concert, he appeared aloof, as if not wanting to be there. This was, of course, the starting section with ‘Bored’, where it is notated to walk down the keys and play what is seemingly a random set of descending notes and then back.
It is the humour that shines through in these first few ‘Books’, Pierre is joined by the striking Lorenzo Soulès, who joined in the boredom and then duos on one piano, famously from Kurtág often played live with his now late wife Márta. A ‘Quarrel’ movement saw them pushing the same repeated keys, cleverly matching a vocal argument of ‘always having the last word’. Of note are the many Bach transcriptions, we sadly did not hear some of my personal favourites though ‘Gott, durch deine Güte’ held the atmosphere of serenity for a few minutes. Most of this first hour saw thumping tone clusters, humour abound between both players and a highly irregular, distilled sound world unfurling out of the piano.
We heard many numerous parts of this gigantic work, and the little slivers of performance are always a delight. It’s such a shame these die down as the books go on. In the second set at 5pm, Pierre returned solo (same for the third) and had further violent tendencies in their noise and impact. Birthday greetings and a homage to Janáček are present, as the Beethoven Bagatelles often cleansed the pallet after the angular abstractions. Pierre remains a fascinating pianist, in whatever he plays. His power over the keys remains masterful, the graceful consideration for every note with his own eyebrow raising, mouth chewing is for every bar. The Beethoven here is also really strong, I didn’t think this would work with the rest, but they actually did.
By the 9pm concert, a profound fatigue had set in. The addition of an upright piano on stage, Kurtág’s admiration for the instrument is proven with lovingly sombre writing for it. His use of the middle peddle creates a serene and soft palette, pianissimo indeed. The Schumann here is exquisite, especially the well regarded ‘Im ruhigen Tempo’ from Gesänge Der Frühe. This is some of Schumann’s finest writing and is just so touching on an upright. Little to no ‘performance’ in these later ‘books’, though some warfare still prevails, the reconciliation and memories are the names of movements, aside continuing dedications and poetry.
Had these concerts been played slightly nearer each other, I may have had the stamina for them, even after hearing the whole work back two years ago. I was not the only one who struggled, as some chose to contribute their own ‘snore games’ during this last concert.
Fine playing as ever and a stellar reminder of one of the great living composers.