Arash Rokni
Holy Trinity Church, Haddington 13/9/25
Arash Rokni (piano)
The Coffee Concert recital of the morning of 13th September at this year’s Lammermuir Festival was given by Iranian pianist Arash Rokni in Haddington’s Holy Trinity Church. The two major works on the programme were Brahms’ 4 Ballades Op 10 and Beethoven’s ‘Eroica’ Variations Op 35. Each was preceded by an unbroken sequence of relative miniatures by Alessandro and Domenico Scarlatti, György Kurtág and Sofia Gubaidulina, each block being performed as a unit. Arash played from a tablet with its own stand.
Alessandro Scarlatti’s Toccata in F major received a treatment that made it come across as a rather beefy ‘miniature’, with lots of sustain in the opening phrases (I cannot imagine András Schiff approving). Lots of rubato lent the music an improvisatory feel, impulsive and reticent by turn, and there was even some fugato writing. It was a compelling listen and a super concert-opener (but I wouldn’t like to be pressed to adjudicate on authenticity). Domenico Scarlatti’s Sonata in F-minor K466 was rather more typical, and teasingly hesitant phrasing heightened the sense of suppressed yearning and melancholy – it was achingly beautiful. Kurtág’s brief ‘Játékok VI/36: Ligatura Y’ teetered obsessively and chromatically around a major and minor chord. Gubaidulina’s ‘Musical Toys VI: Song of the Fisherman’ was a brief étude based on a lovely folksong melody and cascading fifths (like a string orchestra tuning). Gorgeous.
Brahms’ 4 Ballades Op 10 are a great favourite and they received a spellbinding outing. The first, initially dark and meditative in D-minor, seems to unfold a narrative with growing confidence before reaching a climax, before receding back to the gloom. The second, initially a tender lovesong in D major, becomes impassioned and turbulent in two waves, the second rather angry-sounding, before returning to yearning tenderness. I wondered how far I would get through this review before having to mention that fabulous Bösendorfer piano. Wonder no longer. All the ballades (and all of the programme in fact) sounded great on the supremely lyrical instrument. I’m smitten. The third ballade, in B minor, was quite Schumannesque, reminiscent of Waldeszenen but more passionate and impulsive. Its central section evoked a beautiful, mysterious apparition, before returning to the impulsive opening mood. The B-major final ballade starts as a song of devotion over a rippling left hand. The central section is more wistful and meditative but with a depth of feeling. Back to the solemn and earnest song to finish. Excellent.
Alessandro Scarlatti’s Toccata in A minor had dotted figures that hinted at Hispanic influences, with an improvisatory feel, and a nice major-key fuga. Domenico Scarlatti’s Sonata in E-minor K203 had phrases in the major too, and enough scampering runs and cascades within an overall rhythmic structure to suggest ekements of a jig. Kurtág’s ‘Játékok VII/17: Hommage à Berényi Ferenc 70’ started with mysterious fragments of melody hanging in the ether, with lots of sustain, fascinating but scary. A lot of banging and thumping followed, with sympathetic resonances exploited. I couldn’t claim to make much sense of it. Gubaidulina’s ‘Musical Toys XII: The Echo’ was another brief étude but less lovely, as it seemed to prolong the Kurtág’s “bash the Bösendorfer” strategy. Not a fan.
Which came first, the chicken or the egg? Well, going by opus numbers, Beethoven’s Eroica Variations (Op.35) pre-date the symphony (Op.55). The themes for the earlier piano piece and the finale of the symphony are identical, though we wait longer for the lovely counter-melody in the piano piece. The variations are really very different and more wide-ranging and contrasting in the piano piece. And, although both have stonking fugues, that of the piano piece is more monumental (but maybe not quite as ingenious). It is a super piece and it got a virtuosic and compelling interpretation.
This was an imaginatively constructed program, executed with virtuosity, commitment and persuasive cogent musicianship. Full marks from me.