He’s a classical musician with a talent for improvising. A concert violinist who decides his playlist moments before taking the stage. A baby-faced professional. An outgoing Finn.
Although he’s the current it-boy of the next generation on classical music’s world stage, Pekka Kuusisto doesn’t go in for all the rock star gimmicks his peers seem to resort to. There’s no designer punk hair style, fluorescent instruments, or psychedelic suits; just plain matte black two piece suits for Kuusisto, pianist Simon Crawford-Phillips, and the page turner du jour; standard haircuts and clean shaven chins; standard wood violin and glossy black grand piano.
Kuusisto introduced himself and the different segments of the show. He was funny, quirky, talkative, sincere and confident — qualities he retains when playing. His sound is smooth and clear, as well as juicy and textured, and an absolute pleasure to listen to.
He is unaffectedly animated while playing, and not just with the usual funny faces of string musicians (cellists particularly crack me up). His poise and fluency are a bit incongruous with someone who looks like an overgrown toddler, but that impression is quickly washed away by the combined tidal wave of his personality and skill, and the blatancy that the stage is his natural habitat.
Crawford-Phillips didn’t get to talk, but clearly enjoyed his duo partner’s shenanigans and managed to convey a strong character from behind his string man. Crawford-Phillips’ playing was also a study in opposing forces: exact and passionate, deliberate and frenzied, articulate, crisp and definite. He played each note with individual attention without sacrificing flow and emotion.
I bet he’s funny too. They should really give him a mike.
Together, Kuusisto and Crawford-Phillips show a startling synchronicity, coupled with a patent passion for interpretation. They play with a sort of deliberate urgency, as if they simply must get the music out, and get it right.
While there is no set play list for each show, they work their repertoire around three cornerstone piece by Schubert, Sibelius and Coriglian. These foundations bolter a show that, last week at South Bank’s Conservatory Theatre, moved through ancient Finnish folk songs, Viennese waltzes, Gershwin tunes, and a Swedish lullaby.
Both men are eminently adaptable, and at much more than a technical level. They play from inside the music and bring out its humanity in a way that is good for the soul; their sheer enjoyment of what they do does the heart good. Quite often they look like they’re about to transcend all physical laws and literally take off. To be sure, Kuusisto’s bowstring couldn’t take the physical demands of the concert and frayed pretty spectacularly towards the end.
The pace of the show is feverish, effectively punctuated by lingering moments that draw out the tension until the audience is aching for resolution. You can practically seethe notes curling out around the two musicians, animation-like, catching their bodies and twirling them in their expressive gyrations.
Their stunning versatility makes their performance look, I wouldn’t say easy — the music is far too layered and textured for that — but it definitely looks like a very well oiled machine.
One highlight of the evening was the Song for Clapping — literally two people performing a duet by smacking their palms together. And it was awesome. Other pieces of the night included a series of wistful, unpredictable Finnish folk songs and delicate waltzes made for the opulence of old Vienna.
To close, Kuusisto chose a piece entitled Lullaby by its Swedish composer. Not the rousing tubthumper that usually closes out a show, but a sweet and tender farewell to an audience he has enjoyed spending time with.
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The remaining shows in Kuusisto’s and Crawford-Phillips’ Australian tour are:
Adelaide
Adelaide Town Hall
Thursday, 3 July 8:00 pm
Melbourne
Arts Centre, Hamer Hall
Saturday, 5 July 8:15 pm
Newcastle
Conservatorium Concert Hall
Monday, 7 July 8:00 pm
For more information visit Musica Viva's website.
