SE22 Piano School teacher Vatche performed a phenomenal recital of music by Russian composers last weekend as part of the South London Concert Series. You can watch video highlights of the event. A review by Frances Wilson of the event is below.
Frances Wilson writes:
Occasionally one experiences something really remarkable at a concert: Maurizio Pollini playing the Boulez Second Sonata, Marc-André Hamelin making sense of the craggy edifice that is Charles Ives’ ‘Concord’ Sonata. And last night, it was young Armenian-Australian pianist Vatche Jambazian playing Galina Ustvolskaya’s Piano Sonata No. 5 at the season finale of the South London Concert Series. This was not at the Royal Festival Hall, nor the Wigmore, but the 1901 Arts Club, just five minutes from the Southbank Centre, a beautiful small venue in a former Victorian schoolmaster’s house.
A graduate of the University of Sydney’s Conservatorium of Music, Vatche is already carving an impressive professional career with a busy concert schedule and an equally full teaching roster, and he has an enthusiastic following, judging by the crowded salon at the venue and the noisy post-concert party upstairs.
Unlike some up-and-coming young artists, Vatche doesn’t play crowd-pleasers: his repertoire choices for the South London Concert Series (SLCS) were challenging and eclectic: it was his choice of repertoire that prompted the organisers of the concert to call it ‘Eastern Accents’, with its special emphasis on music from Russia. But just to prove that he is equally at home with “mainstream” classical repertoire, he opened his programme with Haydn’s B minor Sonata, a darkly sardonic work whose final movement could be mistaken for the work of a youthful Beethoven. The performance was rich in colour, witty and crisply phrased, particularly in its outer movements.
Vatche’s assertion that Galina Ustvolskaya’s Piano Sonata No. 5 was “not for the faint-hearted” was more than borne out in a performance of great clarity and control. Composed in 1986, and initially banned by the Soviet authorities, this is a work which contains chord clusters and violent dynamic contrasts, and makes full use of the range, resonance and sonority of the modern piano. It is not easy listening, challenging and at times brutal, yet Vatche’s powerful communication drew the audience into this extraordinary soundworld with its dissonances and chiming bells. The piece also confirmed one of the key missions of the SLCS: to put lesser-known and rarely performed repertoire before an audience in a salon setting which recalls the European cultural and musical salon of the nineteenth century.
“Absolutely fantastic…..Vatche I salute you! Such control, power and energy!” Lorraine Banning, audience member
Shostakovich followed, fittingly, for he was Ustvolskaya’s teacher, with an exuberant and technically demanding Prelude and Fugue in D-flat from the Opus 87. Returning to the piano after performances by supporting artists Alex Ewan (violin, in de Falla’s Ritual Fire Dance) and Frances Wilson (Takemitsu and Rachmaninoff), Vatche concluded the concert with an energetic and colourful rendition of Prokofiev’s Piano Sonata No. 3 in A minor. It was a rollicking finale to what has been an exciting and popular first season for the South London Concert Series.
There were also performances by supporting artists Jose Luis Gutierrez Sacristan (Villa-Lobos and Granados) and SLCS co-founder Lorraine Liyanage (Khatchaturian and Auerbach), and the audience had the opportunity to mingle with the performers in the bar at the 1901 Arts Club after the concert.
Founded and curated by Lorraine Liyanage and Frances Wilson (AKA The Cross-Eyed Pianist), this innovative concert series offers amateur and semi-professional musicians the opportunity to perform alongside young and emerging professional artists in the same formal concert setting. The series has a special focus on lesser-known and rarely-performed piano repertoire, and has featured young professional artists Helen Burford and Emmanuel Vass in its first season. Praised for its unique and accessible approach to music making, the series combines quality chamber music with socialising to recreate the ethos of the nineteenth-century musical salon.
“A wonderfully creative idea” – Peter Donohoe, internationally-acclaimed concert pianist.
The South London Concert Series 2014/15 season launches in September 2014 with a new concept – Notes&Notes – a music and words event in which acclaimed pianist and teacher Graham Fitch will discuss and perform music by Bach and Haydn. The concert is at Craxton Studios in Hampstead, former home of pianist and teacher Harold Craxton, and will be followed by afternoon tea.
“The South London Concert Series is both innovative and traditional. Events blend an appreciation of fine music and music making with conviviality, and blur the artificial distinctions between professional and amateur”
James Lisney, international concert pianist
Full details of all SLCS events here www.slconcerts.co.uk