Review: Jan Lisiecki, Bristol Old Vic

Jan Lisiecki’s interpretation of Chopin’s Etudes at the inaugural Bristol Old Vic Bristol Proms in 2013 was an astonishingly bravura performance of some of the most challenging music written for piano.  The concert, including visuals live streamed during the event on a screen behind Lisiecki, epitomised the Bristol Prom’s innovative approach to classical music performance, namely utilising other media and unusual environments. 

Thus it was certain that his return to the Bristol Proms would be well attended. And it was, by the curious about this very young, he is just 20, Canadian/Polish pianist and the Proms multimedia approach, as well as classical music aficionados.

The programme opened with the most technically demanding of Bach’s suites, the Partita No 2. Bach’s work is known for requiring the utmost precision during performance as Lisiecki said when he finished playing the piece “people can get lost when playing Bach and not get out again”. This was not the case with Lisiecki, his accurate and precise rendition of the piece, which alternates contrasting fast and vivacious themes with more reflective moments, was breath-taking and left the audience slightly stunned at it’s completion.

The concert was devised to explore the progression of piano music from the limpid and precise Bach through to the intensely emotional, passionate, bass notes driven work of Rachmaninoff. So it was inevitable that there would be some Mozart included at some point. The Sonata in A Major was perhaps a little obvious but there’s no harm in playing to the crowd at times. Compared to the purity of the Bach the Mozart was like a fat cheeked spoiled child showing off in front of grown ups. Beautifully played but its fizzing technical pyrotechnics were unexpectedly sterile, unless you were a fan of Mozart.

Schubert’s Impromptus in F minor numbers 1 and 4 followed the interval, and the progression from composition that is technique focussed and hints at passion to composition that is emotionally focussed yet requiring great control and technique began. The Impromptus were where Lisiecki’s emotional renditions of the pieces began to come alive. They sound less controlled and more intense and romantic, with more room for manoeuvre and places to hide if a mistake is made. However Lisiecki’s control when playing them was astonishing, it’s hard to make something compositionally freeform sound natural, but he achieved it.

Chopin is the composer that, at this early stage of his career, Lisiecki is most associated with.  After witnessing the emotional, poetic and intense performance of Op 48 Nocturne 2 it is easy to see why. Pitch and tempo perfect, you could hear a pin drop during the pauses and whilst the Nocturnes are often considered to be lullabies Lisiecki brought their passion to the fore.

There was only one direction to go in after the Chopin and that was to Russia and Rachmaninoff’s Elegie Opus 3, number 1. Rachmaninoff is one of the greatest composers who worked in the Romantic tradition, all hugely emotive and evocative with crashing, pounding motifs throughout.  Yet his piano pieces require consummate mastery of the keyboard and perfect timing. Lisiecki did not disappoint as he brought the concert to a dramatic end in a crescendo of high emotion and the audience to their feet in appreciation and a demand for an encore. The encore was cleverly chosen- the aria from Bach’s Goldberg Variations, which brought the concert full circle as it clearly inspired parts of the Elegie.

As with the previous Proms performance there were live visuals streamed throughout. A number of cameras set up around the stage and on the piano allowing film editors to mix and stream instantly. In the first half the film was predominantly black and white, perhaps homage to old footage of Bach maestro Glenn Gould you can find online, perhaps a representation of the clarity of the pieces.  In the second as the lighting of Lisiecki altered to include colour as the music grew increasingly passionate in tone, some colour crept into the film.

An evening of musical contrast and progression played by an astoundingly talented artist, what more could an audience ask for and receive? Yet again the Bristol Proms has hit all the right notes and long may they continue to do so.

For more information on the Bristol Proms, visit www.bristololdvic.org.uk/proms2015.html