Irish pianist Philip Martin was in Dublin’s National Concert Hall to perform a programme of some well-known – and not so well-known – piano works. Featuring pieces by Chopin and Beethoven, alongside a selection from American composer Louis Moreau Gottschalk, and even some compositions by the pianist himself, the evening offered musical shades of both darkness and light, for fans of both sides of the spectrum.
First up is Mozart’s Piano Sonata in B-flat – Martin draws a lively and bright sound from the piano, as Mozart’s sparkling melodies fill the darkened hall. The second movement, its lyrical melody flowing and fluid, is brought to life by Martin’s sensitive phrasing, before the third and final movement draws the whole together.
Two Chopin Nocturnes come next. The first, Op. 15, no. 3 in F-Sharp, is pensive – almost gloomy – with Martin’s light touch leading the way to the hopeful final chord. Op. 27, no. 1, with its rippling bass figures played low and deep, the melody rising in the right hand, is vibrant and lively. The first of two Chopin Impromptus, Op. 29 in A-Flat, playful and bright, is something of a counter-balance to what follows. Martin’s performance of the Fantaisie-Impromptu is a real stand-out. Charged with a depth of tenderness, his playing allows all the nuance of Chopin’s piece to shine through – taking it at a brisk tempo, he brings out its beauty without making it sound overly sentimental.
Two of Martins own compositions bring a change of style. Although a style that gives a nod or two to his influences, it sits well within the context of the programme. The first, Visions of the Night, is a meditative, nearly melancholic, tune – a real sense of space in the phrasing giving it a late night feel. He follows this with another midnight tune, New York Nights. This time he hints at the sometimes manic bustle of that town, the tension builds until the final chord sounds; Martin jumping back from the keyboard as it does.
After the interval we have Beethoven’s Moonlight Sonata; one of his best known solo piano works. It’s often heard, but doesn’t always sound as good as tonight. From the familiar melody of the first movement through to the fire of the last, Martin’s playing is precise and powerful. Three waltzes by Chopin follow. Gathering the playful, the mournful and the serious sides of Chopin together, Martin shows a real affection for the pieces.
The music of Louis-Moreau Gottschalk, an American pianist composer of the 19th century, is something of a specialty of Martins. First up is a little-heard work, a gently lyric piece, entitled simply Melody (1853 Havana). Martin follows this with Le Bananier – the melody played first in the left hand, now in the right – his sharp sense of phrasing bringing the tune alive. Solitude, its opening rolled figure setting up the melody to come, is another sweet and harmonious piece; Martin’s playing controlled, his touch is just right.
Finally we have Le Banjo. Crashing chords with the bass alive and vibrant, it brings to mind the music of Gottschalk’s American homeland. Martin’s hands leap across the keyboard. As he gathers momentum, the volume rises and the tempo quickens, the sounds of the South ring out – until he again jumps up from the piano, the final chord left ringing in the hall.
An encore comes in the form of Robots, a 1928 composition by Billy Mayerl. Fast and lively, the stride bass and jumping melody sees Martin attack his keyboard, bringing the evening to an end with a flourish. As the night draws to a close, Martin bows to a delighted crowd – his programme of tender moments and virtuosic display clearly having found a receptive audience.
Programme
Mozart – Sonata in B-flat, K333
Chopin – Two Nocturnes – Op. 15, no. 3 and Op. 27, no. 1
Two Impromptus – Op. 29 in A-Flat and Op. 66 in C-Sharp Minor (Fantaisie-Impromptu)
Philip Martin – Visions of the Night
New York Nights
Beethoven – Sonata Op. 27, No. 2 Moonlight Sonata
Chopin – 3 Waltzes – Op. 64, no. 2; Op. 34, No. 2 and no. 3
Gottschalk – Melody (1853 Havana)
Solitude
La Bananier
Le Banjo
Mayerl – Robots