Teacher and pupil took the stage at London’s Wigmore Hall in a joint concert by Maria João Pires and Pavel Kolesnikov featuring late works by Schubert and Beethoven, and Schumann’s love letter in music to Clara Wieck, the Fantasy in C, Opus 17.
Pavel Kolesnikov, the young Siberian pianist who has already garnered many prizes and much praise for his playing, is a soloist of the Music Chapel in Brussels, studying with Maria João Pires as part of her ‘Partitura Project’ which offers a benevolent relationship between artists of different generations and seeks to thwart the “star system” by offering an alternative approach in a world of classical music too often dominated by competitions and professional rivalry. In keeping with the spirit of the Partitura Project, the pianists shared the piano in two works for piano four-hands by Schubert and each remained on the stage while the other performed their solo. From the outset, this created a rather special ambience of support and encouragement.
The evening began with Schubert’s Allegro in A minor D947 “Lebensstürme”, a work written just six months before his death in autumn 1828, and directly after the Fantasy in F minor, with which the recital closed. No gentle easing into the concert, the work shares its key with several of Schubert’s darkest piano sonatas and its mood is generally terse and bleak, offset by a beautiful hymn-like second subject. With four hands at the piano, the textures are richer, more orchestral, and the scoring offers more scope for some intricate counterpoint. This was a robust and upright performance, tautly focused. Kolesnikov, taking the primo part, produced an elegant tone and delicacy of touch in the more reflective sections, and both pianists displayed sensitive voicing, and were alert to the rapid fluctuations of Schubert’s emotional landscape.
Returning to the stage with his mentor for her solo performance, at first it appeared that Pavel Kolesnikov might act as page-turner for Maria Joao Pires, but instead he sat quietly at the side of the stage, observing and listening to his teacher’s performance. This had the effect of shrinking the Wigmore Hall into a salon where we might observe the intimacy of teacher and pupil at work together.