Martha Argerich and Dong-Hyek Lim Deliver Thrilling Musical Anarchy in London
In a remarkable performance at the Royal Festival Hall in London, Argentinian pianist Martha Argerich and her Korean mentee Dong-Hyek Lim created musical magic that defied convention. This thrilling and idiosyncratic concert moved from Mozart's Sonata for Two Pianos to works by Rachmaninov, Ravel, and Schumann, captivating the audience with its gentle anarchy.
A Concert of Spontaneous Changes
The advertised first half of piano duets, including Schubert's Fantasia in F minor D940, was unexpectedly scrapped. Instead, the duo performed Mozart's Sonata for Two Pianos in D Major K448 and Ravel's two-piano arrangement of La Valse. In a surprising twist, the Schubert Fantasia reappeared in the second half as a monumental, 20-minute encore following Rachmaninov's Symphonic Dances in its original two-piano version.
Between works, the two pianists meandered around the stage, chatting and occasionally bowing. Argerich, leaning on Lim's arm but driving nonetheless, engaged in onstage negotiations about whether to swap pianos after the first piece. There were furious looks shot at page-turners caught off guard, and every movement started before the audience had settled, adding to the concert's charming, audience-be-damned bumbling.
Contrasting Styles and Astonishing Synergy
Argerich, widely recognised as the greatest pianist alive today, will turn 85 in June, almost 70 years after her first major competition wins. At 41, Lim is less than half her age, yet their collaboration showcased a fascinating interplay of styles. Lim generally favoured the pianistic primary colours of bright attack, while Argerich conjured 50 shades of grey: distant cosmic rumbling in the Schubert, veiled pianissimo in the Rachmaninov, and silvery descants in the Mozart.
There were moments of astonishing pianistic ventriloquism, such as in the second movement of the Mozart, where the two matched tone gleam for gleam. Lim imitated Argerich's gossamer touch in a breathtaking sotto voce passage, demonstrating pure limpid elegance. In contrast, the Ravel was deliciously muddy, with its intoxicating pulse gradually rising from the depths as the pianists exchanged bass detonations.
A High-Wire Act of Musical Thrills
Towards the end of the Ravel, Argerich pushed forwards ever-faster, her hands barely skimming the keyboard, while Lim scrambled to keep up. The waltz teetered on the brink of catastrophe in a high-wire act that couldn't have been more thrilling, highlighting the duo's dynamic synergy and fearless artistry.
This concert not only celebrated Argerich's legendary status but also showcased Lim's prowess as a mentee, creating an unforgettable evening of classical music that blended tradition with spontaneous innovation.
