There were two pianos on the Pavilion stage for the recital by young English musician Ashley Fripp: a two manual harpsichord with terrace dynamics and no pedals for 17th-century baroque, and a giant 9ft Bosendorfer with three pedals for 19th-century romantic.
At least that is what it sounded like, for Ashley Fripp's recital was of such extreme contrast, of both repertoire and technique, it was difficult to realise that one instrument, even played by one brilliant pianist, could be capable of such a range of sound.
He began with a deceptively straightforward Haydn sonata played with crystalline clarity, the opening movement lulling us into quiet security before dazzling virtuoso variations. But just as Haydn's simplicity has almost limitless depth, the Vier Kleine Klavierstuecke by Liszt felt empty and lacking in substance. Liszt without the fireworks failed to touch or convince us, through no fault of the interpreter today.
The major work was Rachmaninov Op. 23 Set Of Ten Preludes, tailored to Rachmaninov's own spectacular hands. Like all his piano music, most of the Preludes are extraordinarily difficult to play, demanding wide stretches and tremendous virtuousity. Ashley Fripp made light of the technical difficulties which never overshadowed the emotional heart of the Russian maestro. Fripp played with an iron hand in a very silk glove. A rapturous audience demanded two encores and got another romantic Rachmaninov Prelude on the Bosendorfer and a baroque Scarlatti sonata on the harpsichord.
Comments: Our rules
We want our comments to be a lively and valuable part of our community - a place where readers can debate and engage with the most important local issues. The ability to comment on our stories is a privilege, not a right, however, and that privilege may be withdrawn if it is abused or misused.
Please report any comments that break our rules.
Read the rules hereComments are closed on this article