At the Barbican, assertive yet somewhat distracted, Evgeny Kissin took a perfunctory bow before launching into his performance with minimal preparation. At times, his presence seemed to fill the stage, being larger than the Steinway itself. This intriguing blend of tenacity and preoccupation set the tone for an evening of piano music by Beethoven, Chopin, Brahms and Prokofiev. The reason for his distraction became clear by the concert's end.
Kissin commenced with Beethoven’s Piano Sonata no. 27 in E minor whose initial chords struck with zest and great control of dynamic shades. Yet, there was a peaceful quality to both the music and the pianist’s interpretation. He maintained the rigour of Beethoven’s material while projecting a louder, more refined orchestral sound, pedalling just enough to supply the music with the right amount of resonance. The delicate finger touch allowed the ending to revel in its elegant and restrained beauty.
The shuffle of latecomers noticeably distracted the artist during Chopin’s Nocturne in F sharp minor, Op.48 no.2. While not the most cantabile rendition of the bittersweet melody, Kissin’s masterful handling of rhythmic discordance – its unwillingness to conform to the strictness of the broad and booming left hand arpeggios – elevated the performance. Chopin’s Fantaisie in F minor began with heavy and murky octaves. Although the main marches were bold, they lacked some tonal clarity. The chorale in the middle was full of anguish and the reprise fed on some new and restless energy, making our hearts beat faster. The finale was truly magical, with hushed melodies skating atop frozen chordal resonance before a final crescendo.
After the interval, the pianist's concentration intensified. Brahms’ Four Ballades displayed a range of emotions. Kissin’s sombre assertiveness heightened the heavy grandeur of the first, while the second was vibrant and full of contrasts. The B minor Ballade burst forth with explosive impulsiveness and a perfect groove, arguably the highlight of the set. Despite some choppiness in the final Ballade's soprano part, Kissin created an intimate and captivating atmosphere, momentarily forgetting about the audience and focusing solely on his instrument.
It was Prokofiev’s Sonata no. 2 in D minor that stood out as the highlight of the programme. Despite its overall agitation and rushed tempo, this energy somehow complemented the atmosphere of the evening. Fragmented sections of the first movement shifted kaleidoscopically in and out of focus, while the tense build-up in the middle section was gradual and controlled, creating an exhilarating sense of excitement. The second movement was executed in a perfectly mechanical way, providing a necessary contrast. However, in the third movement, although the tension was palpable, Kissin seemed to rush ahead, not allowing the harmonies to fully resonate.
The final nerve-racking movement brimmed with extreme virtuosity and frenzied energy, leaving the audience clamouring for an encore. Then, Kissin's distraction became clear as he mentioned the death of Alexei Navalny, the prominent Russian opposition leader who had passed away in a penal colony the day before. In a touching tribute, Kissin dedicated Chopin’s Mazurka in A minor, Op.67 no.4, to Navalny's memory. Two more encores followed, featuring Prokofiev’s March from The Love for Three Oranges and Brahms’ Waltz in A flat major, Op.39 no.15 .
As the crowd erupted in cheers, refusing to let Kissin leave the stage, I found myself unable to hold back tears. As a fellow Russian, I too was preoccupied that evening. However, thanks to Kissin’s magnificent performance, whether grappling with vivacious material or engaging in an intimate dialogue with the piano, I was temporarily transported far from the depressing place called Planet Earth.
