Pianist Katya Apekisheva: “Delivered an account of Berg’s single-movement Piano Sonata, Op 1 that you are unlikely to hear bettered”
THE best-kept secret in the world of chamber music is up and running once again. This 18th year’s theme celebrates the wonders of Creation and is titled accordingly. Fittingly, this includes six premieres over the festival fortnight, at all of which the composers concerned will be present.
The sheer statistics are worth a glance. Over the course of 13 concerts, there will be 58 pieces from 32 different composers covering 300 years to the present. Most featured are Thomas Adès and Schumann with six pieces each, followed by Beethoven and Mozart with four apiece.
There are 28 performers involved, all of them outstanding in their field, including many who return year after year and have become audience favourites.
For those new to the festival, it should be mentioned that although the programmes are published in advance, the names of the actual performers are only revealed just before each event – which adds an anticipatory frisson.
This year’s Young Artists Ensemble is the Davidoff Trio, who had the honour of opening proceedings, which encompassed Opus 1 pieces by Beethoven, Schumann, Berg and Mendelssohn. The outstanding feature of the trio’s treatment of Beethoven’s Op 1, No 1 in E flat was the intelligent pianism of Yona Sophia Jutzi. She maintained an ideal balance with her partners along with smooth momentum.
The ‘Mannheim skyrocket’ of the opening theme had a crisp staccato in all three voices. By contrast, the unusual Rondo slow movement was notable for the pianist’s rubato and the cellist’s interjections.
Much was made of the contrast between the pianissimo opening of the Scherzo and the more robust moments later. There was sparkling wit in the finale, taken at particularly brisk pace, with the strings handling its Mozart-style chromaticism with panache.
Roman Kosyakov highlighted the vitality in Schumann’s Op 1, his Abegg Variations for piano, his first foray into musical acrostics, since the letters of the name (with B representing the note B flat) are the theme that he develops. Kosyakov was clearly aware that their style was largely derived from Chopin and he milked it cleverly, particularly in the highly decorated fourth variation.
Katya Apekisheva, a long-time favourite here, delivered an account of Berg’s single-movement Piano Sonata, Op 1 that you are unlikely to hear bettered. She was totally attuned to the idiom of extremely late Romantic harmony composed when Berg was still a pupil of Schoenberg. Her touch and attention to detail were impeccable, notably as she built towards its big climax.
Mendelssohn’s First Piano Quartet, Op 1 in C minor, brought a third pianist to the podium, Daniel Lebhardt, in company with violinist Charlotte Scott, viola player Elliott Perks and cellist and festival director Jamie Walton. It proved a superb combination. Its opus number belies the work’s extraordinary maturity, which was apparent in the relentlessly detailed piano role in the first movement. Lebhardt handled it impeccably.
There was a truly Romantic soulfulness in the Adagio, largely coloured by the lower two strings. The excitement in the scherzo gave it a sense of acceleration and a power cut during the trio was weathered faultlessly. Battery lights were brought on before the finale which, despite its moderato marking, was taken at a fair clip, growing in intensity into a thrilling coda.
Review by Martin Dreyer
North York Moors Chamber Music Festival continues until August 22. For the full programme, visit: northyorkmoorsfestival.com.
