EIF: Mariam Batsashvili
The young Georgian pianist, Mariam Batsashvili, was the winner of the 10th Franz Liszt Piano Competition in Utrecht in 2014 and, still only 28, she has appeared all over the world both in solo recitals and as a soloist with orchestras. The works of Franz Liszt form an important part of her repertoire, and her recital today in the Old Quad featured several pieces by that master.’
She started, however, with Robert Schumann’s “Fantasiestücke’, Opus 12, a set of eight pieces for piano, written in 1837, inspired by a collection of novellas, essays and writings about music by E T A Hoffmann (the real person behind Offenbach’s Tales of Hoffmann), written in 1814/15, and dedicated to the 18 year old Scottish pianist, Anna Robena Laidlaw. A discourse takes place between two characters, Eusebius and Florestan, each symbolising either the dreamy side of Schumann’s nature or his passionate side, ending in a wedding (predicting his forthcoming nuptials with Clara Wieck). Ms Batsashvili played with a beautifully poised touch, and really seemed to get inside the music. I was a bit worried at the very start by over-reverberation from the sound system, but it appeared to revert quickly to a natural sound. She can certainly pound those keys when needed! The work, however, draws to a gentle close after the noise of the wedding.
Franz Liszt rediscovered Schubert in 1838, when he was in Vienna for the first time in years. His transcriptions of Schubert Lieder served to popularise the almost forgotten genius and are themselves marvels of composition. ‘Aufenthalt’ and ‘Ständchen’ are two songs to poems by Rellstab, which appear in his posthumous last work, ‘Schwanengesang’. The first is a stormy evocation of the power of nature, while the second is a romantic serenade. I have sung both these songs frequently and love them deeply. I am unsure why Liszt chose ‘Aufenthalt’ (Resting Place), as the transcription - it didn’t tell me more about the song - but ‘Ständchen’ was much more successful; the tune is played in a high tone first, then in a low version, and the third verse is given the full Liszt fantasy effect - fabulous! ‘Erlkőnig’, Goethe’s Hammer Horror story, is famously almost impossible for the accompanist, so Liszt lets the pianist play the vocal part as well! Wow! A Tour de Force.
Liszt was a great supporter of Richard Wagner, and this transcription of the ‘Liebestod’ (love’s death) is a magnificent monument to him. The end of ‘Tristan und Isolde’ is one of the miracles of music, and, although one misses the soprano voice at the huge climax, and Wagner’s masterful orchestration, Ms Batsashvili conjured up marvellous swathes of sound from her piano to transport us to operatic Paradise.
The recital ended with Liszt’s ‘Valse de Bravoure’, a virtuosic piece of breathtaking pianism, played utterly brilliantly by the young Georgian. Her encore of Rossini’s Petite Caprice in the style of Offenbach was delightful.
