… comes the privilege of witnessing, live, two men of genius performing at the same event. Two days on, I’m still glowing from the reflected glory and deep inner joy, all enhanced by the memorable timing of this experience on the eve of the Super Blue Blood Moon.
What event am I mooning about? I have already mentioned my old friend Norman Perryman in two previous blogposts (here and here – please read them again, and have a look at his websites). Naturally I’ve seen some of his impressive static paintings, and videos of his kinetic art, but this was my very first opportunity to see his unique genius in action, live, right before my eyes.
When he told me that he was coming to perform with the Zurich Chamber Orchestra on the evening of 30 January, of course I knew I had to go to the concert. So near, yet so far: Zurich is only an hour and a half away by train, so I’ve always considered it easily accessible. However, as I get older and feel more vulnerable, I have become ever more reluctant to take the train late in the evening because there are “some weird folk” abroad at that time, hanging around stations as well as on the train. There is probably little risk, I know, but I feel that my fear is palpable and that, like animals, these people can sense fear and are attracted by it. So call me cowardy-custard, but I prefer not to take the train after 9 pm if I can avoid it.
My Darling Daughter came to my rescue once again. She lives close enough to Zurich that the train journey is not so fraught, and anyway she looks after me so well, I don’t have to worry about anything. Plus, she offered me a bed for two nights. She was so keen to go, she actually bought the tickets, so another treat for me. In fact, I don’t think I would have found the concert venue on my own, though once you know its location it’s actually very easy, practically next door to the railway station.
The programme was an interesting and lively mix: Stravinsky’s “Basel” concerto for strings in D with Norman’s kinetic watercolours, followed by Mozart’s piano concerto no 21 (with the famous Elvira Madigan Andante 2nd movement) featuring the extraordinary Radu Lupu, and culminating in a rollicking rendering of Beethoven’s second symphony.
Stravinsky, I freely admit, is not among my favourite composers although in the past I have enjoyed watching ballets to his music. It is, I’ve always felt, more a vehicle to move to than music to listen to, and have disparagingly referred to the opening movement of this concerto as “Music for grasshoppers”. It had struck me as suitable for the soundtrack of some film noir, but with Norman’s synaesthesia supplying the colours and the paintbrush providing the choreography, I suddenly found this work palatable. Kinetic art is the perfect partner for this piece. To my surprise, it touched feelings and emotions in me that were buried very deep, arousing a sense of a profound connection to universal truths and meanings that flashed in and out too swiftly for me to catch them. Almost cathartic. Certainly beautiful.
We had seats in the middle of the front row so that we would get a good view of the screen where the art is projected. This also gave us a new perspective on the Steinway during the piano concerto, a true worm’s eye view of the mirrored inside lid. It didn’t matter. I’m one of those people who close their eyes while listening to classical music, preferring not to see the writhing and grimacing of many gifted musicians as they perform. All I could see of the soloist Radu Lupu, once he had sat down, was his left foot barely pressing the pedal. But my daughter, who was slightly better placed in the aisle seat, was struck by his stolid impassivity as he played, in such contrast to the delicacy of his touch and the power of his performance. No writhing or grimacing here. Yes, unmistakably a genius, able to coalesce with the music and the instrument, proving how much greater is the whole than the parts. Mozart must have been very pleased by this interpretation.
Then, after the interval, the Chamber Orchestra came into its own with an exuberant rendering of Beethoven’s Symphony No 2 that must also have had the composer wanting to jump up from his grave and join in. This, surely, is how it is meant to be performed, the conductor Jukka-Pekka Saraste truly channelling the composer, and the musicians wallowing in the stirring spirit of the piece. Hard to imagine that Beethoven was anything but happy when he wrote this symphony, but in fact its composition coincided with his despair when he realised he was now permanently deaf.
This performance was joyful, jolly, jubilant. I couldn’t see the conductor’s face, but the musicians were all beaming and exhilarated, as was the audience. “Beethoven rocks!” laughed my daughter, as we watched the Leader of the orchestra rolling around on his seat, feet in the air much of the time as he put lots of gusto and brio into his bowing and his Stradivarius responded full-heartedly. The cellist was also sawing away so energetically that the strings of his bow were visibly disintegrating and by the end of the last movement there was a pile of fluff all round the feet of his chair. It was a rousing end to the programme.
How its first audiences must have been blown away by this fresh, exciting music that came with the new eighteenth century; no wonder the ladies were fainting and swooning, their corsets tight beneath their Empire dresses!
Happily, we were also able to catch Norman on the way out, and have him to ourselves for a few minutes before he had to go and mingle with the throng sipping their champagne in the foyer. We saw no point in lingering longer, so instead of champagne we went home for a cup of tea, and to tell my Dear Son-in-Law what a delight he had missed.
This will never be repeated and I may never see either of these geniuses again. Radu Lupu is more or less a recluse and his public performances are now extremely rare. Norman is due to perform at the Symphony Hall in Birmingham in the autumn, but it’s unlikely that I can make it there since I no longer have a permanent base in England. So I bask gratefully in the beautiful memory of an exceptional event on the blessed eve of the Super Blue Blood Moon.