Louis Lortie (piano)
George Benjamin Shadowlines (6 Canonic Preludes) (2001)
Chopin 24 Preludes Op.28 (1839)
Wigmore Hall, London; Monday 24 April, 2017
Listen to the BBC broadcast here
Written by Ben Hogwood
Louis Lortie has a long-held affinity with the music of Chopin, and that was abundantly clear in the affection with which he played the composer’s 24 Preludes.
Completed in 1839, they are an extraordinary set of pieces that travel through each of the conventional Western tonal centres in the course of just 40 minutes. Chopin structures them cleverly, pairing them up so that each prelude appearing in a major key (for instance the first one in C major) is followed by its closest relative in a minor key (in this case A minor). The series proceeds using the ancient ‘cycle of fifths’, so that after ‘C’ we move to ‘G’, then ‘D’, and so on until a complete circuit is reached.
Previous exponents of this sort of cycle include Bach, whose famous ‘48’ also uses all the keys, but moves in a stepwise movement from C to C sharp, then D. In visiting the form Chopin was clearly aware of Bach’s efforts in the previous century, for he took the music with him on holiday to Majorca, where some of the preludes were written.
Lortie brought the cycle to life (from 18:06 on the broadcast link provided), with some of the shorter pieces reeled off at dazzling speed. The quick ones, for instance those in G major (21:02) or a particularly stormy affair in F sharp minor (27:29) were on occasion a bit too swift for the phrasing to be abundantly clear, but when he spent time over the melancholic no.4 in E minor (21:57), or the serious no.6 in B minor (24:37), the melodies were beautifully shaped, the depth of feeling immediately evident.
The natural centrepiece of the cycle is no.15 in D flat major, known as the Raindrop (from 36:27). It is at least twice as long as any of the others but also contains at its heart a very strong reference to plainchant, the speculation being that Chopin was capturing a haunted abbey in his writing. It looks forward to Debussy in this sense, and Lortie played it with the grandeur it deserved. Following it with the whirlwind B flat minor prelude (41:50) was the storm after the calm, the whirlwind superbly energised.
A beautifully crafted finish included the delicacy of the F major prelude from 51:35) and the stern countenance of the final D minor prelude (52:25), carrying its head high to put a cap on a superb performance of 24 strongly characterised pieces.
A little less effective were the 6 Canonic Preludes by George Benjamin, written so that whatever is played in one part has to be shadowed by the other. Some of the pieces were effective characterisations, not a million miles from Schoenberg’s mysterious piano pieces, but others felt emptier emotionally. Lortie played them superbly, but perhaps repeated hearing on the broadcast will bring them to life.
Lortie is in the process of recording the complete piano works of Chopin, and his first album in the series for Chandos is a great next step after the Preludes, containing as it does the great Piano Sonata no.2.