Pierre-Laurent Aimard, EIF review: 'a rich tapestry of ever-changing sounds'

A mash-up of Schubert and Kurtag offered a dream-like journey between two contrasting musical worlds at this year’s EIF, writes David Kettle

Pierre-Laurent Aimardplaceholder image
Pierre-Laurent Aimard | © Marco Borggreve

Pierre-Laurent Aimard ★★★★★

Queen’s Hall

Just a couple of days earlier, the Gringolts Quartet had offered its Queen’s Hall audience a high-concept mash-up of Schubert and Kurtag. The high-concept mash-up of Schubert and Kurtag that formed the second half of Pierre-Laurent Aimard’s captivating recital in the same venue had its similarities, certainly, but there was quite a different intent, as the pianist explained: to offer a dream-like journey between two contrasting musical worlds, in the final part in the International Festival’s three-concert tribute to fellow pianist Alfred Brendel.

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Aimard’s sometimes unhurried tempos and his liberal pedalling certainly contributed to the otherworldly atmosphere, as did fleeting ideas and suggestions that echoed back and forth between the two composers, brought out subtly but distinctively in Aimard’s wonderfully supple accounts, as Schubert’s miniature dances dissolved into Kurtag’s often gnomic utterances of pure sound and gesture.

Things were similar but more strongly defined before the interval, as Aimard interlaced a selection of Beethoven’s bagatelles with movements from Ligeti’s witty early Musica ricercata. At times there were uncanny similarities in texture, mood or even notes, despite the musics’ starkly contrasting styles, and again Aimard proved an expert guide, and one with plenty to say about both composers.

With a grand total of 68 pieces played (many just seconds long, admittedly), the programme quickly transformed into a rich tapestry of ever-changing sounds, but Aimard proved an expert weaver, blending colours, textures and weights to illuminating and enthralling effect. David Kettle

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