LIBOR NOVÁČEK

SATURDAY 29th OCTOBER 2011

Last Saturday Music Nairn had the pleasure of welcoming back Libor Nováček for his second performance at the Community Centre.  He bravely chose to start with Janáček's challenging masterpiece "On the Overgrown Path", a work whose fleeting glimpses of the composer's pain following the death of his daughter, cast in his curious musical language, delighted some members of the audience and puzzled others.  It is often said that the poignancy of this work can really be brought off convincingly only by a Czech, and Libor certainly lived up to his nationality.  His at times generous pedaling emphasized the impressionist qualities of this work, without compromising the more percussive folk-song inspired elements.  Libor chose to play with the score not, he explained, because he did not know the notes, but because the beauty of their physical shape on the page inspired him to new thoughts at each performance – a novel but understandable position.  He somehow managed to play as if he were alone, and yet to engross the audience in this introspective work.

Unfortunately the performance was marred by the sound of Nairn revelers who apparently do not know the most famous date in the history of the United Kingdom – or perhaps they choose also to celebrate Hogmanay a week early when it suits them!  At any rate, Libor certainly produced fireworks of his own (now without interruption) for Beethoven's first virtuoso piano work, his Sonata in C major (Op 2 No 3).  This is perhaps Beethoven's first sonata where he writes as himself, rather than Haydn, with all his power, wit and depth.  Whilst Libor had exploited the sonority of the Steinway to the full in the Janáček, the powerful bass at times threatened the brilliance of the treble, but his ability to follow Beethoven's sudden mood changes certainly produced an exciting performance.

Nováček ended his programme with another introspective work, Brahms Op 116 Phantasien, also written after bereavement.  Again, his thoughtful love of this particular piano resulted in a beautiful and moving performance of another unusually modern-sounding work for its time: Libor's Brahms is legendary.  And after such an almost morbid opening and end to a perfect recital, we were delighted with a charming "musical box" by Litolff, whose gradual unwinding to a standstill elicited an obvious chuckle from the enthralled audience.

PZM