International fame is rare and hard to achieve and few artists ever make a splash on the global stage. And in spite of recording technology, fame eludes many musicians, however heralded they may be inside the industry.
Portuguese pianist Maria João Pires, may be just such an artist. Pires has recorded about 50 albums for Deutsche Grammophon, performed throughout Europe, and has garnered admiration for her interpretations of Mozart, Beethoven, and Schubert. Yet, she has seldom performed in the United States, and her ardent fans have been limited to her recordings, and, of course, YouTube videos.
And it was perhaps one of the YouTube videos that suddenly brought international fame in an unorthodox way, as SFCV’s Janos Gereben discussed a little over two years ago.
Whether or not the viral YouTube video, a segment from a 1998 documentary film about the Royal Concertgebouw in Amsterdam, helped set up Pires’ North American tour, which will end at Carnegie Hall on March 15, last weekend we fortunate San Franciscans had the pleasure of hearing her perform Beethoven’s Concerto No.3 in C Minor with the San Francisco Symphony, conducted by Herbert Blomstedt.
The concerto, written in 1800, carefully balances Beethoven’s heritage in Viennese School classicism with elements that became hallmarks of the composer’s “heroic style.” Thus, it can be tempting to fall too much on either side: How the pianist and the orchestra navigate the precarious path is often the subject of intense discussions.
The orchestra took a highly disciplined approach, with the rhythmic integrity required for the substantial scale of the work. Pires entered with a level of sternness that demanded attention, but her answer to the opening measures was tender and sorrowful. That contrast was the hallmark of the performance.
Pires, being diminutive and svelte, may not be known for thundering chords, but was rarely if ever short of power for the piece. The orchestra, with the cellos right next to the first violins, and the second violins opposite the firsts, helped create a stereophonic effect, particularly in the opening movement’s fugato section. It gave an illusion of space far larger than the physical dimensions of the hall.
The performance could be summarized with the words sincere and cohesive. There was not a note out of place, and the pianist and orchestra were truly in concert with each other. Instead of the pianist dominating the performance, Pires was acutely aware of her responsibilities, sharing the space with the orchestra. It was the mark of an artist who was serving the music. Speed and power will always win accolades, but Pires refused to resort to pyrotechnics, and preserved the timeless quality of the work.
After the intermission, Blomstedt led the orchestra through a carefully measured performance of Bruckner’s Symphony No.3. The composer’s signature, bold lines were laid down with determination, and the entire orchestra came together with earth-shattering power. Blomstedt, as usual, was clearly in command, performing without the use of a score on the podium. However, there were times when the orchestra faltered at the end of measures where several rapid notes follow a sustained note. Yet, such blemishes were insignificant compared to the monumentality of the entire performance.