Magazine article Musical Opinion

Valerie Tyron at the Wigmore Hall

Magazine article Musical Opinion

Valerie Tyron at the Wigmore Hall

Article excerpt

Too often, in recent months, I have attended concerts of piano music: piano music where there was a pianist and a piano, or a pianist at a piano. The best of piano recitals are, of course, those when the performer and the instrument are as one.

It is a rare treat to hear an artist who is at one with the instrument; for whom a performance never appears to be a task and who is able to extract an individual tone from a piano that perhaps, only hours before, sounded dull and harsh at another's hands.

Valerie Tryon is just such an artist, and one of the scribbled notes on my Wigmore Hall programme of her 30 May recital reads: "What a joy to hear such sonorous and sympathetic playing, instead of the intense and edgy bombast that so often assails our ears."

Her recital began with Chopin's Barcarolle in which her full warm tone was never forced; her singing tone deftly carrying the music's melodic lines, clearly offset against the pulse and underlying momentum of the music.

In the Opus 25 Etudes her innate musicality was served by a marvellously unobtrusive technique so that we were hardly aware of the music's intrinsic difficulties. Beauty of tone and a wonderful gift for pointing melodic and harmonic structure illuminated each etude.

Debussy's Estampes followed the interval, with magically evocative playing enhanced by liquid sound, shimmering light and shade and tonal palettes. In La Soiree dans Grenade I could almost smell the sensuously moving warm night air. …

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