Houstoun recital a twilight treat for concert-goers
Taranaki International festival of the Arts
Taranaki Daily News, 10 August, 2009
Reviewed by Allan Purdy
The Theatre Royal was full at the last Twilight Series concert of the Taranaki Festival of the Arts yesterday as Michael Houstoun, supreme master of the keyboard, gave a perfectly balanced programme of great piano music by Bach, Brahms, Debussy and Chopin.
For well over three decades Houstoun has been at the forefront of New Zealand music and maintained an international reputation as well. There was absolutely no trace of the career-stopping right hand affliction he suffered a few years back.
The subdued auditorium lighting made it impossible to read the programme, but created an atmosphere of intimacy such that one felt privileged to be 'at home' with Michael Houstoun. As a performer he is totally engrossed in ensuring that the music speaks for itself as the composer intended. There are no histrionics - only after the very last note of the recital did his left hand rise in triumph.
Bach on piano (rather than harpsichord or clavichord) creates difficulties for many performers, but Houstoun's sincere respect for melodic lines, unobtrusive ornaments and small-scale dynamics gave an admirable performance of the French Suite in G. I really enjoyed the elegance of the Sarabande and the sheer, unstoppable impetuosity of the Gigue.
With Brahms' Variations on an Original Theme we moved into much warmer textures and rich harmonies. With more relaxed phrasing and subtle dialogue between right and left hands Houstoun was coaxing beautiful sounds from the Steinway.
The Suite Bergamasque by Debussy provided a lighter end to the first half with a sunny Menuet, an absolutely exquisite Clair de Lune (in which Houstoun displayed masterful control and an uncanny ability to make the instrument sound non-percussive) and the tiptoe dancing Passepied.
Chopin - for many people the greatest piano composer ever - filled the second half. The big bravura sound came to the fore in Sonata No.2. Throughout surging waves of emotion and huge dynamic contrasts Houstoun was always in complete control. The sublime middle section of the Funeral March movement was heavenly. Two Nocturnes and four Etudes brought back memories for quite a number of would-be pianists in the audience.
This was truly a complete delight - a piano recital to set the standard for many years to come.