A virtuoso recital, setting works by baroque masters against music by the premier contemporary composer for the harpsichord:-
At any recital by Gilbert Rowland, there is always one moment when even fierce hatred of clichés cannot prevent the comment - My jaw dropped. His recent recital at the Ripley Arts Centre in Bromley was no exception. On that occasion it was his stunning performance of Scarlatti's Sonata K427 - extreme bravura, and at a deliciously outrageous pace - that made the audience feel obliged to break into spontaneous applause, even though we were in the middle of a sequence.
Gilbert Rowland’s usual key attributes - intelligent interpretation and outstanding virtuosity - ensured that this was another exciting event. It began with one of the lesser-known Handel suites (HWV 454). Each movement was given thoughtful treatment: the melodic line pointed in the Allemande by nuances of tempo; a sense of rhythmic dignity in the Sarabande set against the sheer gusto of the faster movements.
There followed a set of six Scarlatti sonatas, the performer's vivacity and technical prowess matching every challenge. But it was not just a matter of technique by any means, as other challenges were fully met: the intellectual demands of K115, the Spanish rhythms and brilliant passage work of K116, the (very difficult) bouncing rhythms of K270, the racy forward movement of K271, and the lyricism in K387.
Interestingly, the programme combined the work of baroque masters with some of the earliest (Set One, 1956) of the Inventions by Stephen Dodgson: a valid juxtaposition, no doubt, as he is widely regarded as the premier contemporary composer for the harpsichord. Gilbert Rowland's playing seemed to suit the varied energies and wit of these pieces - rather as it suits Scarlatti. Happily, the composer himself was present and was able to share the audience’s appreciation.
Gilbert has extensively recorded Scarlatti and Soler (inter alia), but he is perhaps not so well known as an interpreter of Couperin, so it was interesting to hear his performance of the Sixth Ordre. A comparatively smooth approach to the opening movement was an initial surprise, but the interpretations offered soon became convincing: an appropriately legato style for ‘Les Langueurs’, the insistent energy given to ‘La Bersan’, the pastoral lyricism of ‘Les Bergeries’ (one could hear the shepherds’ bagpipes), and the happiness of the dance in ‘Le Moucheron’. Particularly interesting was the way in which the shaping of motifs in ‘Les Baricades’ produced meaning for the whole movement - a fine example of (to borrow terms from literature) syntax producing sense. Gilbert’s handling of both the ‘conversation’ movements was also a notable feature: some retention and release of the movement in ‘Le Gazoüillement’ suggested the flowing and slowing of conversation; the forward drive in ‘La Commére’ seemed to present a bustling street and chatter... of a sort not characterised by reticence.
And finally, as if the Scarlatti sonatas had not convinced everyone from the outset that our recitalist was quite capable of a dazzling performance, he demonstrated it again with four sonatas by Soler. But the indulgence in panache and vivace in R4 and R125 was well matched by a sense of melody and the ability to sustain a long line in R130. A demonstration of the utmost velocity and virtuosity in the Sonata in C major brought the recital to an appropriately stunning conclusion.
There is really only one lingering source of dissatisfaction: the recital room at this very pleasant venue was not full. Far more needs to be done - not by the performers, but by those who present themselves as a supporting force - to publicise these events effectively. We have a duty to the stalwart musicians who perform for us.
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