NEW ROSS PIANO FESTIVAL 2009
Reviewed by Jeremy Hill, Wexford Echo
 

When they buried General John Moore, one time captor of Wexford in 1798, at Corunna in 1809 there was only silence... ‘not a drum was heard, not a funeral note’... and in St. Mary’s Church, New Ross last Friday not a cough was heard, not a snuffled-up sneeze, as Finghin Collins opened this year’s piano festival with Bach’s Partita No.2. It’s a classic little piece by one of the great composers. But Bach was trumped a short while later by a driving performance of Cesar Franc’s Piano Quintet in F minor, performed by the Callino Quartet with Antti Siirala on piano. Powerfully emotional, and sensually charged, this work alone would have justified the ticket price but, later, along came the final piece of the programme – Prokofiev’s piano sonata No.6 in A. Intense and hectic, strident and spikey, it was filled with Russian passion as good as it gets. The audience left St. Mary’s Church stunned by the sheer pleasure of the evening, and it was only the first day. This is the astounding thing about this small festival; not only does it bring five of the world’s leading pianists to New Ross, but it also gives us the chance to hear a wide-ranging programme of music from Bach in the early 18^th Century through to Dubedout’s piece written in 2009. If you haven’t heard the latter’s music before, well nor had I - but then the work only had its world premier two weeks ago in Paris and now we have it in New Ross! It is an electro-acoustic work by one of the world’s experts in this sort of composition. We were also offered another contemporary piece , this time by Alfred Schnittke.; it’s hard to describe how lovely discordant musical intervals can sound when the interval is so slight, as if the second instrument is slightly out of tune. Try to imagine you are in a beehive and listening to the buzzing of 50,000 untuned bees; somehow the music brings you an unexpected feeling of magic and joy. Perhaps this is as close to the inside of nature as music can take you; and it’s the feelings of the natural world that’s being portrayed rather than the human emotions that feature in Finghin’s playing of Liszt’s Liebesrob or Sophie Cashel’s rendering of Liszt’s Ballade No.2 containing the story of thwarted lovers Leander and Hero from Greek mythology.

On Saturday night we were taken from the European grandeur of Beethoven to the eastern purity of ‘Vrishti’ by French composer Bertrand Budebout. The playing of this work by Finghin Collins may have been the tour de force of the festival. Technically and rhythmically difficult, this was a test of even his ability. For the audience, it was educative and a challenge to interpret; it was also a demonstration of the seriousness of this festival that it offers more than lollipops to listen to. It was a great contrast with the earlier lunchtine recital by Roberto Prosseda of Mendlesohn and Shubert. Prosseda was highly complimentary of the sense of intimacy offered by the church which he felt allowed him to engage closely with his audience. ‘So different’ he says ‘from playing the great concert halls of the world. All of we musicians invited to New Ross feel there is something special here for us too.’

Sunday morning in church is different when prayers and hymns are replaced by highest order piano playing. Sophie Cashel played us Janacek, Liszt and Schumann after her personal introduction and explanation to the audience of the works she was to play. After lunch Sunwook Kim began with Haydn and then gave a booming performance of the Shostakovitch Prelude and Fugue in D minor. This was string breaking stuff and was a great example of the concert grand at the height of its instrumental power. Not noise for noise sake, but strong, emphatic control – it showed a pianist at home with himself and his instrument.

Power showed its head again when Antti Siiral played the final session. A towering performance of the piano transcription of Finlandia left us wondering whether there was any need for a full orchestral version. Antti’s boyish appearance disguises his great confidence and maturity at the piano. To finish a stunning weekend, he then played Beethoven’s Sonata in C major opus53 “Waldstein.” This is one of many compositions that demonstrates Beethoven’s powers as a composer. From forte to pianissimo, from simple melody to highly complex interplay between the hands, Waldstein is a perfect example of the master at work. It takes exceptional piano players to bring out that mastery and to be the proof of the pudding that Beethoven’s position in the music world takes beating.

A surprise closed the night and the festival, when Finghin announced that Irish composer Eric Sweeney had written a special piece for the festival, and for New Ross, titled ‘Dance Music for New Ross.’ It was written around a jig tune and played by three of the festival pianists making it six hands at the piano simultaneously. It was fun, it was surprising, and it was a fine demonstration of the homeliness and the serious though informal atmosphere around the whole weekend.

The festival committee must be commended for their inclusion of younger players among the attractions. On Thursday night, 20 aspiring pianists had the chance to play to an audience in a recital setting. Not only parents were enchanted by the youthful talent that was obvious for all to hear; a masterclass was also held by Annti and attended by Co. Wexford native Jonathan Morris, one of the exciting prospects in Irish piano playing and now studying under Hugh Tinney. Equally benefitting from Annti’s coaching were Nadene Fiorentini and Shane Ladden.

All told we were taken on a broad ranging journey. We heard the pastoralist, the romantic, the passionista, the patriotic and the experimental yet it was all brought together as a coherent experience not to be forgotten. An artistic director must satisfy an audience with his choice of music as well as satisfying his performers that they are playing their own type of music. That Finghin Collins achieved all of this is a credit to him.

All of the performers at this year’s festival have collected most of the important competition prizes needed for international acclaim. The content of the programme and the stature of the pianists in New Ross last weekend would fill the leading concert halls of the world. That we can hear them on our own doorstep in provincial Ireland gives us an unprecedented opportunity to engage with the arts at the highest level. An inspired committee is supported by the relevant state agencies showing a fine example of taxpayers’ money and voluntary endeavour enriching the lives of a small but proud Irish town.

 

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