A generous programme by Alban Gerhardt and Víkingur Ólafsson saw a tale of two halves, with the classical poise of the first followed by the more extrovert showpieces of the second. Not only was the content very different, but so was the effectiveness of the performances.
The first half kicked off with the Bach’s Viola da gamba Sonata no. 3 in G minor, BWV1029, a work of miraculous fertility of melody and ease of polyphony. It has that outdoor quality of some of the Brandenburg Concertos. This performance however, using a grand piano instead of a harpsichord, suffered from balance problems. The keyboard writing is so brilliant that the cello is in danger of being overwhelmed, even with the more translucent timbre of the harpsichord. Here Ólafsson was at times too assertive leaving Gerhardt too much in the background. It was only in the beautiful Adagio that the combination of instruments seemed to gel.
In Beethoven's A major sonata it was not so much a case of balance, but there seemed to be some intonation problems besetting the first movement. It felt as if Gerhardt needed time to warm up into the heroic pastoral world. The wonderful opening melody took a while to settle down and it was only in development section that you began to feel the duo fully engaged. This dynamism moved forward into the scherzo, as well as into the lopsided but charming finale. The duo eventually found the right tone and technical brilliance that is needed to reveal the not so hidden treasures of this most striking work.