Michael Lawrence

Press, 14 October 1989, Page 6

Michael Lawrence

Michael Lawrence (piano) in the Great Hall, Arts Centre, October 13, at 1.10 p.m. Reviewed by Paul Goodson. Pianist Michael Lawrence is what I would term a middle spectrum performer. He is neither musically concupiscent nor locked into an interpretative chastity belt. Not every pianist should enact the musical equivalent of tearing off one’s clothes and dancing naked in the rain. Dependability, a firm but undemonstrative technique and good judgment may sound bloodless, neutral qualities to bring to the perfonning arts. In practice this is far from so.

With Lawrence one is assured of performances of integrity. He is an excellent Brahms pianist and a good Beethoven one. The contrasts between the lyrical and the expansive in the three Brahms Intermezzos were •done with subtlety and insight. Following Op. 118 No. 1 by No. 2 rightly showed the unitary nature of the composer’s conception: intensity and strength giving way to serenity and poise. The E flat Rhapsody has a

Schumannesque majesty, and was delivered both with control and with the right degree of underlying restlessness. Beethoven’s “Waldstein” sonata is a difficult nut to crack. Some arbitrary pedalling in all movements and a very quick opening Allegro sometimes blurred textures, especially in the stormy development section and in semiquaver coruscations. But unflagging keyboard energy and well judged contrasts in tempo kept momentum going. To my ears the concentrated Introduzione was too rhapsodic; a tendency throughout the sonata to lift the hands too high in cantabile passages compromised melodic smoothness and flow. With a “purer,” more defined finger legato, the need for sostenuto pedalling would also diminish.

The deceptively untroubled sounding Rondo was elegant and measured. The glittering Prestissimo — which almost seems to mock the lovely opening theme by doubling the tempo — brought the sonata to a suitably unabashed close. • ’ •>