Bril­liance, bravura and de­tail from Ma


tinct res­o­nances with Grieg’s pi­ano con­certo and sim­i­lar de­mands are made here of the pi­anist – no back­ground ac­com­pa­ny­ing for Anna Maksy­mova to­day, she was kept very busy in the sonata which has more of an equal pair­ing than many.

It was in­ter­est­ing that af­ter this, the pi­ano lid was low­ered for the Tchaikovsky and quite pos­si­bly should have been that way through­out the whole recital as the pi­ano tended to over­power the cello in the Grieg when it de­scended at speed into its lower reg­is­ter.

From the out­set the play­ers es­tab­lished the tur­bu­lent and ro­bust char­ac­ter of the Grieg.

This was bold and un­com­pro­mis­ing play­ing by both per­form­ers, of­ten fight­ing for supremacy in the force­ful rhyth­mic pas­sages but lux­u­ri­ously lyri­cal in the cen­tral move­ment and qui­eter mo­ments of the outer ones. Ma made light work of the sonata’s many chal­lenges and took full ad­van­tage of the broad, sweep­ing ges­tures. This was fab­u­lous play­ing.

Sim­i­larly, the Tchaikovsky also dis­played bril­liance, bravura and a keen at­ten­tion to de­tail, as in the purest har­mon­ics and the per­fect in­to­na­tion of the dou­blestop­ping. Ma played this from mem­ory and hardly put a foot wrong.

All up, an­other stun­ning dis­play from two very fine young per­form­ers.

Anna Maksy­mova (pi­ano) with Mag­gie Ma (‘cello).

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