Jean-Efflam Bavouzet is a rounded musician whose dazzling technique informs a lucid exposition of the piano music he essays. He seamlessly incorporates an almost mimic pedagogy that allows the construction and discourse of the music to be freshly revealed.
The Pierne and Faure that commenced his all-French program were given with delectable precision and gallic élan, teasing out the melodic contours. The music of Gabriel Pierne is rarely heard in concert halls, but the charm of Nocturne en forme de valse (Opus 40, no. 2) was beautifully distilled in this performance, ensuring its contrasting sections were integrated with deft piquancy. It has a simplicity of means and melodic turns, ultimately delicate with a charming rhythmic complexity and slight acidity – that almost suggests Satie.
The architecture of the Faure Sixth Nocturne (Opus 63) was skilfully essayed, ensuing we reached its massive climax by understanding how it is structured, whereby simplicity and chromatic density are finely balanced. The swirling dreaminess of the allegro moderato was well placed, as were the rising arpeggios, full of yearning – all landing on the ultimate sadness/resignation that seems to inform its concluding mood.
The Debussy that followed combined technical finesse with a deep responsive to these imagined coloured prints: Estampes. The simplicity of Pagodes is commensurate with the complexity of its rhythm and scale – such clangourous beauty all minutely delineated, reminding us of Ravel and Laideronnette, impératrice des pagodes. A different obsessiveness informed La soirée dans Grenade. Instead of bells, the habanera and luscious dance rhythms, evoked a sense of wilful desire. The final piece, Jardins sous la pluie was full of the mystery of nature. Obsessive in its own ways, the anchored triplets dripping with water, then climaxing as pithy crescendo before plucked as small drops, harp like. The summary abandon at the conclusion was deftly hammered.
The surprise and treat of this recital was Boulez’s early work, Douze Notations (1945). This was a young perron’s greeting card, deeply aphoristic: 12 pieces, each within 12 bars. Structurally playful, palindromic, fully, or otherwise, almost like Webern in the ability of each piece to telegraph emotional states with clarity and brevity. All this was explained by Bavouzet before he commenced his performance, and it was a very helpful exposé for rare music that by 21st century standards is not overly challenging to the listener. It was starkly thrilling music - and piquant - as though the French ideals of clarity and expressiveness were being drawn upon. In Tres Vif (ii), the violence was startling (brusque et mordant), while the mystery of Assez Lent (iii) was equally intriguing (douce et improvise). The wide variety of technical and atmospheric moments gave us the chilled clarity of Rhythmique (iv) and the sustained, treading sombreness of Lontain – Calme (ix).
In The Debussy Preludes Book 1, Bavouzet followed their eclectic pathways distilling power, charm, and mystery. La cathédrale engloutie was particularly engulfing. as the simplicity of its inexorable progression was clearly and powerfully enacted, pitching dynamics with an artful splendour.
Le Collines de Anacapri (v) was charming, given with slight detachment as though observing its hints of popular song with wistful pleasure. The cross rhythms of Puck (La danse de Puck xi) were scintillating. Each Prelude was enjoyed within its own structural imperative and poetic intent. The drama of What the west wind saw (vii) was heroically pitched - its suppressed and overt tumultuousness given with absolute clarity – strident, furious, rapid across the named dynamics.
In the early stages of the Preludes, the piano ran away from the pianist, having been badly secured by technical staff at the hall. Bavouzet took this mishap within his stride. It was his birthday, and all was forgiven, and we the audience sang him happy birthday – twice. The second time conducted by Diana Doherty, chief oboist of the Sydney Symphony orchestra who presented the birthday boy with a fulsome bouquet of native flowers.
As a final offering, the pyrotechnics of Feau de artifice (Preludes, Book 2) blazed across the keyboard.
Bavouzet is both pianist and pedagogue. His conductor’s gestures guide us through the music. He is always eager to share in the mystery, joy, and élan of French piano music. With his technique and questing intelligence he always engages us with the composer’s imagined intent.
International Pianists, Sydney Symphony Orchestra – City Recital Hall, Sydney, 17 October 2022
gar jones
The Pierne and Faure that commenced his all-French program were given with delectable precision and gallic élan, teasing out the melodic contours. The music of Gabriel Pierne is rarely heard in concert halls, but the charm of Nocturne en forme de valse (Opus 40, no. 2) was beautifully distilled in this performance, ensuring its contrasting sections were integrated with deft piquancy. It has a simplicity of means and melodic turns, ultimately delicate with a charming rhythmic complexity and slight acidity – that almost suggests Satie.
The architecture of the Faure Sixth Nocturne (Opus 63) was skilfully essayed, ensuing we reached its massive climax by understanding how it is structured, whereby simplicity and chromatic density are finely balanced. The swirling dreaminess of the allegro moderato was well placed, as were the rising arpeggios, full of yearning – all landing on the ultimate sadness/resignation that seems to inform its concluding mood.
The Debussy that followed combined technical finesse with a deep responsive to these imagined coloured prints: Estampes. The simplicity of Pagodes is commensurate with the complexity of its rhythm and scale – such clangourous beauty all minutely delineated, reminding us of Ravel and Laideronnette, impératrice des pagodes. A different obsessiveness informed La soirée dans Grenade. Instead of bells, the habanera and luscious dance rhythms, evoked a sense of wilful desire. The final piece, Jardins sous la pluie was full of the mystery of nature. Obsessive in its own ways, the anchored triplets dripping with water, then climaxing as pithy crescendo before plucked as small drops, harp like. The summary abandon at the conclusion was deftly hammered.
The surprise and treat of this recital was Boulez’s early work, Douze Notations (1945). This was a young perron’s greeting card, deeply aphoristic: 12 pieces, each within 12 bars. Structurally playful, palindromic, fully, or otherwise, almost like Webern in the ability of each piece to telegraph emotional states with clarity and brevity. All this was explained by Bavouzet before he commenced his performance, and it was a very helpful exposé for rare music that by 21st century standards is not overly challenging to the listener. It was starkly thrilling music - and piquant - as though the French ideals of clarity and expressiveness were being drawn upon. In Tres Vif (ii), the violence was startling (brusque et mordant), while the mystery of Assez Lent (iii) was equally intriguing (douce et improvise). The wide variety of technical and atmospheric moments gave us the chilled clarity of Rhythmique (iv) and the sustained, treading sombreness of Lontain – Calme (ix).
In The Debussy Preludes Book 1, Bavouzet followed their eclectic pathways distilling power, charm, and mystery. La cathédrale engloutie was particularly engulfing. as the simplicity of its inexorable progression was clearly and powerfully enacted, pitching dynamics with an artful splendour.
Le Collines de Anacapri (v) was charming, given with slight detachment as though observing its hints of popular song with wistful pleasure. The cross rhythms of Puck (La danse de Puck xi) were scintillating. Each Prelude was enjoyed within its own structural imperative and poetic intent. The drama of What the west wind saw (vii) was heroically pitched - its suppressed and overt tumultuousness given with absolute clarity – strident, furious, rapid across the named dynamics.
In the early stages of the Preludes, the piano ran away from the pianist, having been badly secured by technical staff at the hall. Bavouzet took this mishap within his stride. It was his birthday, and all was forgiven, and we the audience sang him happy birthday – twice. The second time conducted by Diana Doherty, chief oboist of the Sydney Symphony orchestra who presented the birthday boy with a fulsome bouquet of native flowers.
As a final offering, the pyrotechnics of Feau de artifice (Preludes, Book 2) blazed across the keyboard.
Bavouzet is both pianist and pedagogue. His conductor’s gestures guide us through the music. He is always eager to share in the mystery, joy, and élan of French piano music. With his technique and questing intelligence he always engages us with the composer’s imagined intent.
International Pianists, Sydney Symphony Orchestra – City Recital Hall, Sydney, 17 October 2022
gar jones