Leif Ove Andsnes, piano
Marc-André Hamelin, piano
April 30, 2017
Mozart: Larghetto and Allegro in E-flat Major for Two Pianos
Stravinsky: Concerto for Two Pianos
Debussy: En blanc et noir
Stravinsky: The Rite of Spring
Stravinsky: Madrid for Two Pianos from Four Studies for Orchestra (transc. Soulima Stravinsky)
Stravinsky: Circus Polka for Two Pianos (transc. Babin)
Stravinsky: Tango for Two Pianos (transc. Babin)
It is a rare opportunity indeed to see not one, but two of the world’s leading concert pianists on stage together. This was fortunately the case Sunday afternoon, when Marc-André Hamelin and Leif Ove Andsnes stopped at Symphony Center as part of a 13-city tour of a bracing program that explored music for two pianos. Their partnership goes back a decade when they performed the two piano version of The Rite of Spring at the Risør Chamber Music Festival, where Andsnes served as artistic director. Not three weeks prior to the Chicago performance, the pair finally recorded the piece for Hyperion along with additional works of Stravinsky for the same medium also featured in the recital, and one is grateful this inspired collaboration has been preserved on disc given the pair’s absolutely electric chemistry.
The program opened unassumingly with Mozart’s Larghetto and Allegro in E flat major, with Andsnes taking the primo part in the whole of the first half. The Larghetto was graceful but not without shades of melancholy, as in the best of the Mozart’s slow movements. Cast in sonata form, the Allegro remained unfinished at the time of the composer’s death, and was presented in a completed version by Paul Badura-Skoda. The sprightly main theme evidenced the duo’s rapport from the start, in what was an energetic warmup for all that was to follow.
Stravinsky’s Concerto for Two Pianos is a substantial if neglected work from his neoclassical period, written for him and his son Soulima to play together, and one couldn’t have asked for better advocates in Andsnes and Hamelin. The first movement was of bold, sweeping gestures, delivered with a knife-edged acerbity. The delicate ornamentation in the ensuing “Notturno” gave it a mysterious charm, while contrasting sections were more march-like. Spiky dissonances characterized much of the “Quattro variazioni”, while the finale opened with a brief but declamatory prelude to set up an intricate fugue. The theme of the preceding variations was not heard until it was presented as the subject of the fugue – the composer had originally intended for the last two movements to be in reverse, but settled on the present ordering to give the work a more forceful ending. And a forceful ending it certainly had!
Written in 1915, Debussy’s En blanc et noir is very much a product of the First World War. The angular themes of the opening movement made for a striking visual effect with Andsnes and Hamelin perfectly in sync as a mirror image of each other. The somberness of wartime was particularly apparent in the central movement, which made dissonant allusions to the Lutheran chorale “Ein’ feste Burg ist unser Gott” to depict the German enemy. The final movement – which, perhaps significantly, was dedicated to Stravinsky – was fleet and mercurial, a stark departure in its apparent playfulness.
Stravinsky’s Rite of Spring has been heard on the same stage innumerable times from the Chicago Symphony, but hearing it on two pianos was a refreshing and altogether different experience. It was in this version that the seminal work was first heard – an early performance involved the composer with Debussy: what a sight that must have been. The work is actually carefully written such that it can be performed on one piano, four hands, but the decision to split it across two pianos was a wise one, not just for obvious logistical concerns, but the resonance of two instruments along with two separate sets of pedals allowed for a much greater range of orchestral effect.
Hamelin commanded the primo from here to the end of the program, opening with the famous bassoon line. In spite of Hamelin’s attention to nuance, what’s striking in the bassoon sounded admittedly pedestrian on the piano. This was quickly allayed, however, as “The Augers of Spring” built to electrifying orchestral sonority and power. Despite the orchestral score not calling for piano (as Petrushka does, and quite prominently), the work sounded very natural pianistically. The memorable performance was by and large a steel-fingered assault with hurricane-like intensity, continuing unmitigated through the final, crashing flourish.
A rousing, well-deserved ovation brought the pair back for three encores, all by Stravinsky. “Madrid” appropriately had an irresistible Spanish tinge, with a hint of the jota. The “Circus Polka” (“we’ve prepared all these lovely things for you”, noted Hamelin in his introduction to the delight of the audience) was Stravinsky at his wittiest, replete with bitonalities (and perhaps an inspiration for Hamelin’s own “Circus Galop”). Lastly, the “Tango” was sultry, yet not without the composer’s unmistakable stamp. Thanks are due to both for being on hand for an engaging Q&A session following the concert, and their chemistry there was just as palpable as it was on stage.