Florian Heinisch at the Wigmore Hall today in a programme of Beethoven ,Schoenberg,Liszt. A fine musicianly account of Beethoven`s Appassionata immediately established this young German pianist`s credentials.
How many times has the Wigmore resounded to this much performed old war horse?But I do not think that many could have matched the solemn musicianship that was in evidence throughout the Andante con moto. An ideal tempo that allowed the string quartet type writing to procede without the usual disturbing variants in tempo.In fact it was Guido Agosti who likened this movement to a corteo. Florian within this framework was able to imbue the notes with great meaning ,showing off a notable musical personality.
Of course the first and last movements were played with all the accomplishment that today goes without saying. However even in the first movement he showed a rare awareness of Beethoven’s precise indications of dynamic and his extraordinary effects of pedal.No ritardando at the end led perfectly into the extraordinary Andante.
The final Allegro ma non troppo was just that with a measured tempo,showing great control and a mature understanding of this masterpiece that was after all the precursor of the sublime fourth concerto . Five pieces op.23 by Schoenberg were given a very clear and rhythmic performance in which the many colours of this multi strand work were beautifully realised. Very careful and sparse use of the pedal allowed this mixture of sounds to work together never loosing sight of the overall line of this remarkable work. This complicated score played with great conviction was also a tour de force of memory.
Of course the fireworks in the final work by Liszt were played with great aplomb. The Spanish Rhapsody was a great favourite of Gilels and recently also Murray Perahia (in his Horowitz period) and its continual exuberance needs not only great control but above all a variety of touch which in Florians youthful exuberance was sometimes too overpowering. More variety of sound and less pedal would have given even more effect to the great final climax. This ,of course will come with maturity when the pianists undoubted temperamental fire can be kept under control and unleashed when the intellect demands it. However a very exciting if overpowering end to a fine recital.
By great demand an encore of one of Mendelssohn`s most melodious songs without words where a more subtle sense of balance would have allowed this heart-rending melody to reach even deeper into our soul. +9