Roman Kosyakov at St Mary’s Perivale
‘The simplicity and poetic mastery of a great artist’
It was Richter on one of his first visits to London who played the two early Beethoven Sonatas op 14 – the ‘Hammerklavier’ was to come much later .Annie Fischer used to regularly play the G major op 14 n. 2. They are works with the simplicity of an earlier age but already with the eyes to the future. Serkin used to play op 2 n. 1 with his nervous energy and dynamic drive but above all respect for the score and with masterly musicianship.
Roman joins this illustrious company today with performance of a radiance and simplicity that belie the transcendental mastery that allows the music to flow with such seeming ease. Roman has hands that belong to the keys and with an elasticity formed at an early age can shape and colour the notes with such natural legato. His remarkable musicianship too means he can delve deeply into the score and inspire his imagination with the indications of the composer. There was a beautiful fluidity as the opening melody and accompaniment were interrupted by an impish germ or twitch that Beethoven’s genius transforms in so many extraordinary ways .The wonderful sense of balance where accompaniments became waves of moving harmonies never interfering but enhancing the glowing luminosity of the melodic line. A beautifully mellifluous ‘Allegretto’ played with glorious luxuriance, answered by what would have been called a Trio, of whispered beauty. The ‘Allegro comodo’ of the rondò was played with they hypnotic rhythmic drive as in the very first sonata op 2 n. 1. Here imbued with a melodious outpouring from the very first notes that gives such architectural shape recalling as it does the first movement. These are sonatas where the genius of Beethoven is already taking the Sonata from his teacher Haydn and pointing the way and transforming it as Schubert and Liszt were to do in the future.
