Preview: Piano 2006 Festival, Bridgewater Hall, Manchester

A marathon of Mozart in Manchester

Michael Church
Thursday 16 March 2006 01:00 GMT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

"If you're trying to make a point in a Mozart festival this year," says Barry Douglas, "go for the jugular." Thus, under the direction of this Belfast-born virtuoso, a posse of top pianists are to play every one of Mozart's concertos at Bridgewater Hall this month.

Douglas himself will be playing numbers 17, 22 and 24, and he will hope to infuse them with something of the style he first heard when that great Russian Emil Gilels played Mozart at the Royal Festival Hall. "It had a burning clarity, like a blazing light," says Douglas. "Nothing to do with energy or speed or virtuosity. It was a sound that seemed to say, 'I know what I'm doing, and why'. He made them sound as if they were being played by a symphony orchestra, or a male-voice choir.

"It wasn't that he was louder than other people - he just wasn't afraid to underline the asymmetry of the phrases and polyphony. And it emphatically wasn't dainty, as so much of Mozart playing is today."

Nor was it mannered - another sin of contemporary performers. "I'm not saying that Gilels' solution was necessarily the right one," says Douglas, "but it appealed to me. It was unadorned but, at the same time, remarkably rich and dramatic." However, he doesn't want readers of these words to get the impression that he's trying to reincarnate the Russian: "I couldn't do that. But even if a little of it rubs off on me, I'm glad."

The big question with Mozart piano concertos is - whose cadenzas? For while some have authentic Mozart ones, others do not. Douglas's answer is that one of his three will have Mozart cadenzas, one will have Douglas's own, while the third will have the extraordinary cadenza composed for Svyatoslav Richter by Benjamin Britten.

"Even if Mozart had left a cadenza for the E flat concerto, I would still have played the Britten one," say Douglas. "When a supreme composer such as Britten writes something, you have to sit up and take notice."

21-26 March (0161-907 9000)

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in