KEY POINTS:
A week ago, Martin Roscoe confided to me that it was often best to let the music speak for itself.
On Saturday night, in the second instalment of Auckland Museum's marvellous Fazioli International Piano Recital series, four Beethoven Sonatas proved the wisdom of this philosophy.
We set off in familiar territory; a Pathetique Sonata that may have surprised some with the restraint and delicacy of its Grave introduction. More revelations lay in store. In the fleet-fingered Allegro, its second theme was intriguingly transformed through Roscoe's ingenious shadings.
A moving Adagio cantabile had its emotionalism strengthened through meticulous attention to dynamics and touch while the final Rondo, spiralling from its klezmer-like theme, balanced humour and immaculate part-playing.
Roscoe explained how in the late Opus110 Sonata, Beethoven took advantage of an improved instrument. And, within minutes, the timbral resources of the Museum's own Fazioli illuminated the Sonata's first movement.
The pianist had mentioned to me that he admired the orchestral quality the Russian Sviatoslav Richter brought to his playing, and Roscoe's palette displayed a similar depth and richness of tone.
There was an inevitability, even in the rubato of the recitative and Roscoe's ability to take dynamics down to the almost inaudible; the last movement forged unforgettably from measured fugue to exultant triumph.
After interval, Roscoe spoke highly of the Opus 14 No 1 Sonata, although it turned out to be lighter fare alongside its companions. Even so, the Englishman made the most of the first movement's cantabile outburst, the carefully considered chords of its Allegretto and the stuttering syncopations of its final page. The mighty Waldstein Sonata unleashed the virtuoso in Roscoe.
There would not be an encore, a smiling Roscoe told us. It was better, he said, that Beethoven had the last word. And so he did, voiced magnificently.
