Master of miniatures
In his recital for Perth Piano Sundays on April 15 the Fair City’s own Alasdair Beatson showed a confiding and intimate side.
In a programme of miniatures each piece revealed depths.
As he played the ‘Bagatelles’ of Beethoven’s Opus 33 he became Beethoven at the piano: playful and childlike in numbers one and three, charmingly garrulous, the pianist exercising his fingers in five, then haltingly wondering if it is quite right, the running and crescendos showing what is to come in number seven.
In the five short excerpts from ‘Mikrokosmos’ Bartok was writing pieces to interest his son: dancing with oddities framed the workings of the innards of a piano, darker night thoughts and agitated wings becoming more hectic in the ‘Diary of a Fly’.
The Debussy ‘Images Book 2’ are really big pieces in a shortish time.
‘Bells’ and Alasdair Beatson’s infinite variety of touch in Debussy’s distinctively other sonorities next changed to darkness shot by moonlight then his distinctly cheerful ‘Fish’ brought the addition of some moonshine to the water, perhaps.
He explained that the Brahms ‘Intermezzi’ Opus 117 were very personal and inward-looking.
Number one confided consolation with serene placing of notes, shading into darker, sadder introspection. Number two was memories of dance or singing glowingly recalled. Number three was given a dark, almost threatening melody against growing darkness, haltingly finding its way to a final reprise.
At the end Alasdair looked as though he had glimpsed into the darkness.
Lightening up, the Satie ‘Embryons desséchés’ poked fun: inconsequential rippling, a French folksong and reiterated ending noises. Then a portentous, funereal march hinting at Chopin’s very famous one. Finally a Chabrierlike wit and brilliance – and another mad ending.
Dohnanyi’s ‘Rhapsody’ was scherzo-like in its dives and turns, requiring a sparkling technique that amazing dexterity surrounding the surge of one of the greatest romantic piano tunes.
Finally, to calm the audience which was exuberant with thunderous applause, Alasdair Beatson serenely played the minuet from Beethoven’s ‘Sonata in E Flat Opus 31 no 3’.