pianomania: HENRI SIGFRIDSSON Piano Recital / Review

HENRI SIGFRIDSSON Piano Recital

Yong Siew Toh Conservatory

Orchestral Hall

Monday (27 February 2023)

The problem with lunchtime recitals is that one never makes it on time, especially when its begins at 12.15 pm, instead of the usual 12.30 pm (cutting it real fine) or 1 pm (much more realistic). This was why I missed the first two works of Finnish pianist Henri Sigfridsson’s recital, which included an arrangement of Mozart’s Magic Flute Overture (from its publisher, not Busoni) followed by the Sonata in B flat major (K.570). I got to hear the sonata’s final movement from the corridor and noted its lightness, good grace and humour, which I later learnt was thematically linked with the Overture’s overall light-hearted disposition.

Just consider oneself fortunate to have witnessed what must be the Singapore premiere of Finn Leevi Madetoja’s suite Kuoleman Puutahar (Garden of Death, Op.41 from 1918). Madetoja (1887-1947) was a student of Sibelius’ and an important figure in the next generation of Finnish nationalist composers. He was celebrated for his three symphonies, two operas, and much vocal and choral music. However there was nothing particularly nationalistic about the work, written in the late Romantic idiom and filled with pleasant melodies and luscious harmonies.

Despite the title, there was no eerieness or macabre elements about the music either. Its three slow movements regard death as retiring and ultimately serene, with neither fear nor trepidation to be coutenanced. The Andante first movement opened with light chords, followed by right hand repeated figurations accompanying a wistful melody on the left hand. The middle movement Poco Lento had harmonies reminiscent of Grieg or Mompou leading into an elegant but melancholic waltz where Sibelius’ Valse Triste have been might be an influence. More chords heralded the final Sostenuto ma non troppo which turned out to be a calming berceuse or cradle song. Its gentle rocking rhythm and bell-like resonances, were just the perfect prelude to a gentle and eternal slumber. Oh Death, where is thy sting? Performed so sensitively and beautifully by Sigfridsson, this might just be the new discovery of the year so far, something completely befitting those rarities heard at Schloss vor Husum.

The rest of the hour-long recital was devoted to Chopin. The Four Mazurkas Op.24 were as idiomatic as they come, the three-quarter time and rhythmic lilt judged to best effect. “Cannons in flowers” proclaimed the enthusiastic Robert Schumann, and major artillery was wheeled out for three of Leopold Godowsky’s fearsome polyphonic studies on Chopin’s Etudes. All three were written for left hand alone, opening with No.22, based on the Revolutionary Etude (Op.10 No.12, C minor), now cast in C sharp minor. How Sigfridsson managed with no diminution of velocity, volume and power is a feat only he and the likes of M-A Hamelin can explain. No.5, a reworking of the tender Tristesse Etude (Op.10 No.3, E major) gained a new kind of depth when heard in D flat major. One supposed the left hand coped better with all those black keys.

To close, No.43, based on the ferocious final etude (Op.25 No.12, C minor), sometimes known as Ocean because of its waves of arpeggios on both hands, now in C sharp minor, brought the unusual recital to a thunderous close. Breathtaking seems to be too mundane a word to describe what I had just witnessed. For the record, YST’s head of piano Albert Tiu played two of these some years ago, but with the right hand. As an encore, Sigfridsson went back to basis with Chopin’s Nocturne in E flat major (Op.9 No.2), with neither embellishments nor elaborations. Some things are best left alone, and this was how it should be.