A feast at their fingers
John Ogdon 60th Anniversary Gala Queen Elizabeth Hall, London
Friday 24 January 1997
Which makes you wonder. Ogdon had prodigious technical gifts; he performed Brahms's Second Concerto with John Pritchard conducting the Liverpool Philharmonic Orchestra, reading the music at sight. But, in his later years, much of his playing sounded like sight-reading anyway. That emerged on the short extract shown from London Weekend Television's South Bank Show, screened in 1989: the young Ogdon, hero of the 1962 Moscow Tchaikovsky Competition, which he won jointly with Vladimir Ashkenazy, played like an unshorn Samson, but with brains; the older man was a scrambled shadow of his former self, snatching at the keys as if he were swatting flies, projecting little musical sense at all.
As a composer, Ogdon was almost self-effacing, but clear-headed. His widow, Brenda Lucas, swathed in a striking gown of violet velvet, played An American Sonata - the fourth of his 10 sonatas - which Ogdon had dedicated to her in 1984. It had a lean, airy first movement recalling middle-period Copland, a rather rambling slow movement called "Nocturne", though it wasn't very nocturnal, and an intellectual sort of "Barn Dance" as finale. Lucas didn't bring off some of the music's abrupt transitions with as much conviction as she should.
The rest of the evening was a feast of distinguished playing, beginning with Dmitri Alexeev, who performed Brahms's Four Pieces, Op 119, balancing intense feeling with judicious sobriety - in its unostentatious way, as impressive an achievement as any.
Judicious was the word, too, for Peter Donohoe, who played a selection of five Rachmaninov Etudes-tableaux with immaculate command but just a dash of passion missing.
The most sensational feats came after the interval, notably from Boris Berezovsky, who delivered Balakirev's fiendish Islamey with alternating brilliance and delicacy as well as rhythmic discipline, and made it sound, for once, coherent. It should have stopped the show. But later, Nikolai Demidenko made a fair bid for our especial favour, too, with a scorching performance of Liszt's Reminiscences de Don Juan. Goodness only knows what his left hand was doing in the frenzy of the Champagne Aria towards the end, but his left foot was adding some very effective Flamenco effects.
It was a long and, on balance, a hugely enjoyable evening, ending with Donohoe and Berezovsky dispatching the Nocturne and Tarantella from Rachmaninov's Second Suite with a tremendous show of musical muscle as well as precise teamwork. Great stuff. Suddenly, it was 11 o'clock, but we'd hardly noticed the time pass.
Is the comedy album making a comeback?comedy
Arts & Ents blogs
- 1 Sabina Altynbekova, the girl branded 'too good looking' for volleyball, says social media obsession with her is a 'bit much'
- 2 Disney heiress Abigail disowns her share of family profits in West Bank company
- 3 Israel's propaganda machine is finally starting to misfire
- 4 Zayn Malik on Israel-Gaza: One Direction singer bombarded with Twitter death threats after posting #FreePalestine
- 5 'Hello mum, this is going to be hard for you to read ...'
New Netflix releases: The films and TV shows coming August 2014
Samuel Beckett's biographer reveals secrets of the writer's time as a French Resistance spy
Best movies on Netflix UK and US: 32 films that will end your endless scrolling
Star Wars Episode 7: Simon Pegg hints at disguised role
Guardians of the Galaxy review: A superficial and half-hearted Marvel film
The secret report that helps Israel hide facts
Woman and two children killed by mob in riots over 'blasphemous' Facebook post in Pakistan
A day in the life of Vladimir Putin: The dictator in his labyrinth
Putin is 'thuggish, dishonest and reckless', says British ambassador to US
Richard Dawkins tweets: 'Date rape is bad, stranger rape is worse'
Boozy, ignorant, intolerant, but very polite – Britain as others see us
- < Previous
- Next >