2010 is the 200th anniversary of Chopin’s and Schumann’s births—and offers a timely reminder of the piano recital’s declineby Martin Kettle / December 16, 2009 / Leave a comment
Maurizio Pollini: one of the last great recitalists
Classical music’s overdependence on anniversaries—an inevitable result of the art form’s enduring inability to replenish the repertoire—means that two of the dominant concert hall themes of the new year are safely predictable. The 200th anniversaries of the birth of Chopin in March and Schumann in June do not merely mean that we are going to hear even larger amounts of their music than usual. It also means that 2010 will be a year of many piano recitals.
There was a time when most of the musical public would have found this an exhilarating prospect. And, looking ahead to some of the Chopin and Schumann recitals so far announced in London, there are still some stellar events for which one should book now in order, as promoters like to say, to avoid disappointment. Krystian Zimerman’s Chopin recital at the Royal Festival Hall on 22nd February, followed by Maurizio Pollini on 1st March at the same venue, are the most obvious examples.
It is hard, though, to disguise the fact that the piano recital is a genre in decline. Not so long ago the annual South Bank piano series, of which the Zimerman and Pollini concerts form part, would have been mostly scheduled in the Royal Festival Hall, with a few less celebrated soloists relegated to its smaller neighbour, the Queen Elizabeth Hall. Today, though, the reverse is the case. Of the 16 recitals in the 2009-10 series, just five are at the RFH and, judging by the lamentably small turnout for the first of them—John Lill’s Schumann and Brahms recital in November—even this may prove optimistic marketing.
It would be hard to argue that this decline reflects any waning of public enthusiasm for the music of either Chopin or Schumann, or indeed for Franz Liszt, whose own bicentenary looms in 2011. It would be truer to say that what used to be thought of as the core 19th-century repertoire is less hegemonic in concert life than it once was. Nevertheless, I think we need to look for the explanation in the changing place of the piano in 21st-century concert practice, as well as at the changing role of soloists in modern concerts.
The piano first. There was a time, perhaps from around 1830 to around 1950, when the piano was the most important and most accessible musical medium for most people…