An opportunity to hear a recital by outstanding pianist Konstantin Shamray should not be missed, despite this weekday evening concert coming up against extreme hot weather, and located in a synagogue on the corner of two of Melbourne’s busiest city streets at peak hour, with limited parking and an absence of life-saving refreshments being available nearby. It was never going to be easy to get an audience calmly settled at the scheduled start time, and be in the zone for a magical world-class recital curiously titled “Midnight in Paris”, where one’s thoughts went to the enviably cooler climate in France!
Mastering the situation, Shamray entered almost unnoticed from central steps in the shadows, descending from the heavens beneath the impressive 100 foot Byzantine dome, walking straight to the piano and bringing us the gentle and captivating poetry of Debussy. The music soon settled the restless fanning of programs and filming on phones, a roaming photographer eventually moved from audience view and out of the performing space, and clunky wooden seats in the congregation area were stilled as Shamray’s magic eased the audience into his spell-binding and illusory Parisian world.
Opening with Debussy’s Suite Bergamasque, Prelude took us into a refined and dreamy twilight zone of warm tonal chords, familiar themes and finely balanced gossamer textures. Minuet gave us charming light staccato phrases and most comforting tranquil colours. Shamray’s take on the audience’s favourite – Claire de lune – was most soft and dreamy, with lingering translucent phrases coming peacefully from very far away. Now relaxed and mesmerised, the audience sighed. Passepied was very soft and elegant, the energy of the French dance from Breton being carefully held in light smoothly flowing and gently plucked rather than staccato phrases, with softened delicate colours.
Shamray beautifully programs his recitals with increasing new timbres and tonal expression with each succeeding work. He introduced Rameau’s stylish variations, Les Niais de Sologne, with its anachronistic translation The Simpletons of Sologne, infusing energy, robust character and athletic personality into his interpretation. From simple, honest beginnings his melodic theme grew in intensity of fulness, strength and momentum, in a steady crescendo of cumulative dynamic, power and rhythmic boldness which amused and delighted the audience.
Shamray introduced Chopin, noted for his Polish heritage, as being the most important person living in Paris, and we were given an exemplary and most admirable immersion into three of his piano works: two most poetic, lyrical and tender Nocturnes (Op. 48 No. 1 in C minor and Op. 37 No. 2 in G major), followed by Scherzo No 4, Op 54, in E major. The pianist was quick to point out that the title of the latter work, often associated with playfulness and a joke, was far from it, and shared ideas associated more in the style of Mendelssohn’s A Midsummer Night’s Dream. Shamray’s expression of Chopin’s Nocturnes were so fluid and shimmering with silvery upper melodies, tender and sweet lyricism, and darker thought-provoking and questioning phrases. His powerful virtuosity was striking in moments of agitation, acceleration of double octaves across the keys, exploding to the heights or descending with anguish to lower darkness. The Scherzo did evoke unexpected rhythmic dance steps in varied sections of contrasting themes and a romantic and expansive Barcarolle section, in a piece demanding much emotion yet also technical ease. A whirlwind blew us away in a showy theatrical ending, perfectly warming us up for the programmed spectacular swirling clouds of Ravel’s La Valse.
But kindly cooling us down again, Shamray introduced an extra French treat, Messiaen’s Prelude – Cloches d’angoisses et larmes d’adieu (Bells of Anguish and Tears of Farewell), a contrasting study of Debussy-like instrumental timbres, juxtaposed levels of colours, shapes and resonant bell-like sounds. Commencing with a single note, a low, arrhythmic elegiac bell note sounded. Upper percussive cluster chords and imitative harp-like accompaniment required Shamray to show an impressive portrayal of varied coloured instrumental shapes shifting from background to foreground across a wide pitch range.
Ravel’s La Valse (1920), a choreographic poem for orchestra, was a most inspiring final piece as cascades of different waltzes come together with touches of delirious giddiness and incisive orchestral chords. Exhausting for imaginary Parisian ballet dancers, uplifting for this audience, Shamray released much power and strong melodies with apparent ease. He had kept the audience silently under his spell but now everyone was on their feet with celebratory applause.
Shamray spoke of his idea of night as being the enigma of the soul, but now wanted to leave us with a “morning” piece as an encore: Prokofiev’s Landscape, Op. 59 No. 2, a bright and buoyant work, consisting mainly of fluent airy passages and smooth freely changing meters. Occasional passages of slow steps and thoughtfulness suggested the contentment of a morning promenade. A soothing way to close a brilliant performance.
Photo supplied.
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Julie McErlain reviewed “Midnight in Paris”, performed by Konstantin Shamray at the Toorak Synagogue on February 28, 2024
