Khatia Buniatishvili @ Perth Concert Hall

Oct 2 2009 by Our Correspondent, Perthshire Advertiser Friday

THE first in this new series of Lunchtime Concerts featured a stunning display of virtuosity and musicianship by the young Georgian pianist Khatia Buniatishvili.

Her UK debut last May was in Perth Concert Hall and featured an all Chopin programme; Monday’s recital produced a contrasting set of sonatas ranging from the classical lyricism of Haydn to the modernism of Prokofiev via the high romanticism of Liszt.

Haydn’s early sonatas are beautifully crafted pieces and have an abundance of tuneful melodies and subtle harmonies. The Sonata in C minor, Hob.XVI/20, is no exception and Khatia Buniatishvili captured the mood of this gentle three-movement work perfectly with playing of exceptional clarity and fluidity. The Andante had a freshness of style with delicate ornamental playing, whilst the outer movements had just the right pace and articulation.

The centrepiece of the recital was Liszt’s great B minor Sonata. This grand tour de force is the ideal showpiece for Ms Buniatishvili’s command and aplomb at the piano and here she demonstrated both her powerful technique and sensitive, lyrical playing. From the stuttering repeated note beginning, throughout the full twenty-five minutes of this one movement sonata, she had the audience spellbound with the audacity, total command and sheer virtuosity of the performance. However, it was not just the technical fireworks that impressed but the tenderness and romantic approach that captured this performance and brought out the work’s many subtleties and nuances.

The sheer power and weight in the rapid sections was awe-inspiring and at times one wondered how much the Concert Hall’s Steinway could take! The lyrical sections gave some relief but the huge sound that Ms Buniatishvili was capable of producing was truly exhilarating.

The final piece was Prokofiev’s Sonata No 7. Again, this work has all the drama and colour of sonata form, with Prokofiev at his most discerning. The first movement’s feisty Allegro strides along complete with jaunty rhythms, percussive effects and dissonant chords and although the central section relieves the tension, the opening style returns with even more incisiveness, which Ms Buniatishvili played with vehement delight.

The slow Andante’s lovely melody was played with a sensitivity and heartfelt passion that gave the movement a hypnotic effect, particularly the repeated note that reappeared with increased intensity and shattering impact.

The final movement, Precipitato sprang to life with its complex rhythms and many jazz inflections. Here Ms Buniatishvili played with a bravura that gave the piece a scintillating, dance-like feel that brought the recital to a jubilant conclusion.

Khatia Buniatishvili is a remarkable pianist who plays with true authority and the assurance of someone much more her senior. This performance demonstrated her intelligent, thoughtful command of the piano and her wonderful musicianship.

Peter Rutterford