The concept seems tailor-made for a marketing strategy: a special offer featuring celebrity pianists—buy one, get one free! Yuja Wang and Víkingur Ólafsson are among the most celebrated names in classical music, primarily recognized as solo artists. However, their collaboration during the London leg of their duo recital tour drew a crowd that exceeded capacity, with additional seating extending onto the stage. What remained uncertain was whether this impressive duo would produce cohesive musical synergy.
The concert opened with an almost imperceptible hush as Wang lightly grazed the keys at the beginning of Berio’s Wasserklavier, allowing its gentle gestures to resonate between the two Steinways in an ultra-intimate dynamic. Such breathtakingly quiet moments recurred throughout the evening. Cage’s Experiences No. 1 shimmered with delicate precision, while Nancarrow’s Player Piano Study No. 6 was propelled by Ólafsson’s uneven ostinato, leaving an indelible mark with its unexpected silence towards the end. Pärt’s Hymn to a Great City lingered in the air like the sound of distant bells.
Schubert’s monumental Fantasia in F minor, D940 was originally composed for two pianists at one instrument. With the pianos positioned side by side, coordination became a challenge, yet it also created more room at the keyboards. Wang and Ólafsson achieved near-perfect timing and remarkably crisp articulation, making the fugato passage a masterclass in clarity and elegance.
In Rachmaninov’s original piano duo version of Symphonic Dances, Wang drove the performance from the outset, her playing characterized by strength and vigor. Together, their loudest chords struck like pillars crashing down. In contrast, some passages were strikingly sparse, with melodies seamlessly transitioning from one pianist to the other. Moments of near-stasis balanced with tempos that were fast and fervent.
The highlight of the evening was a performance that inspired superlatives, culminating in an impressive six encores: Adams’s Hallelujah Junction. This piece hardly pauses for breath, boasting a bright, anthemic, and quicksilver character. Even with its rapid tempo, the execution was electrifying, with Wang’s fingers moving so swiftly they became a blur. Ólafsson’s bass pedal notes resonated with thunderous power, making it difficult to envision a more thrilling performance.
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