Pedro López Salas – the style and authority of a great artist
From the very first notes Pedro showed us that we were in for something very special tonight as everything he played was brought to life with such musicianship. Every phrase, every passage was given a life of its own in a musical conversation that is rare indeed. There was such delicacy in the opening Andante with jewel like ornaments that just sprang from his fingers with spring like brilliance. Sparkling and glowing with ever more meaning as he shaped the phrases with beauty and rhythmic drive. The Menuet was very simple and beautifully shaped contrasting with the music box sounds of the Trio played on the surface of the keys with long held pedals as Haydn himself had indicated. A similar effect to the later C major Sonata Hob XV1:50 written more that 30 years later in 1795/5 and one of Haydn’s four famous London Sonatas which are the distillation of the composer’s entire sonata-writing output .They were, though, written for an instrument of greater tonal range than the Viennese instruments of the day, with a wider palette of specified dynamic possibilities and pedal effects. The return of the simple black and white elegance of the Menuet was like reopening a window, having been taken on a magic dream world of make believe. The Finale was scintillating and exhilarating bursting with youthful energy but in Pedro’s masterly hands always given such shape and character.