***** (5 stars)
“A Fabulous Treat”
Last year I waxed lyrical about the superb banquet served up for us by Ariel Lanyi: this year I need to get out my box of superlatives and search through for some more to try and describe what a fabulous treat the Northesk audience had this Tuesday lunchtime.
I think the biggest compliment I can pay Ariel is that I came to hear him despite knowing that he was playing Schumann, one of my least favourite composers – and that I really enjoyed his rendition of the Fantasiestücke Op 12. This collection of ‘fantasy pieces’ runs the gamut of emotions: romantic swooning, furious outbursts, jolly dancing, reflective questioning, happy skittering about and solemn, hymn-like declamation. They showcased Ariel’s power and delicacy of touch and his ability to make a melody sing out above a tumultuous undercurrent of emotions. The silence that held us at the end of the final Ende vom Lied [end of the song] was a testament to the way he had drawn us into Schumann’s music and held us entranced.
Debussy’s second book of Preludes formed the second part of Ariel’s programme. He told us that these are rarely performed as a complete set – and far less frequently played than those in the first set of preludes. This second set, he said, is almost a compendium of everything Debussy was interested in, and has a strong narrative sense linking them together.
Once again I had a fabulous, nearly front-row view of the keyboard. It was a joy to see the delicacy, the almost floating hands as Ariel caressed the keys. Here were clear, almost transparent watercolours, in strong contrast to the robust oil paintings of the Schumann: yes, there was power too, but somehow more refined, restrained and all the more glorious to hear.
Each of the preludes was different in character, and I loved them all – exquisite contrasts of feeling and atmosphere. We had mist, dead leaves, Spanish gypsies, dancing fairies, the eccentric Genéral Lavine, a moonlit terrace, a water sprite, a very British homage to Charles Dickens’ Samuel Pickwick, and an ancient Egyptian burial urn. Les tierces alternées [adjacent triads] was a scintillating display of technique – fingers moving so fast there seemed to be at least ten on each of Ariel’s hands as they played on top of each other in joyful competition. My favourite prelude was Bruyères [heather the plant or the heath on which is grows]. It began with a simple folk tune, and my notes continue lovely warm chords and growing melody, glorious gleaming tone, delicate filigree decoration and ends Love song – woo me…
Debussy’s set of preludes ends with feux d’artifice – fireworks. It’s the perfect way to end a recital, an aural description of a firework display – bangers, sparklers, catherine wheels, rockets and much much more. Joyful cascades of brilliance filled the church before a final few splashes of colour faded into the darkness. And again there was that silence of deep content, which means so much more than the loudest applause, before we showed our appreciation of this wonderful music.
Warm applause greeted Ariel as he came out to play this afternoon – so many of us who remembered his 2024 recital were absolutely delighted that he was with us again. Our final appreciation of this young man’s artistry almost raised the roof! Ariel says he loves coming to play at Northesk: we return the compliment and say we so love hearing him that we are already eagerly hoping that he’ll come back next year.
Music at the Brunton – bite-sized concerts, Ariel Lanyi, Northesk Parish Church, Musselburgh, Run Ended
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