David Helfgott

Image: David Helfgott from Andrew McKinnon Presentations

Touring nationally until November 15^th, Helfgott’s program showcases new interpretations of familiar classics.

With near-trademark enthusiasm, Helfgott bypasses preamble and introductions, instead diving straight into Bach’s Italian Concerto. From the very first phrase, he shows the brave personality and individualism that have made him such a celebrated performer. Everything about this performance would make a style-purist wince, from the use of modern piano over harpsichord to the liberal use of rubato and dynamic variation. Nonetheless, there is something undeniably beautiful in Helfgott’s interpretation. He finds a way to unleash the normally buttoned-down passion of the Baroque. He luxuriates in the shifting harmonies of the piece, especially the moments of dissonance, which he attacks like a late-century jazz enthusiast. And always there is an attention to melody, which he is able to bring sparkling to the surface of even the most complex contrapuntal passages.

Helfgott’s approach to Beethoven’s Appassionata Sonata is similar, though he has a shorter distance to go dragging this early 1800s work into a fully Romantic vein. He evokes light and dark shades, finding all the emotion the piece has to offer. But as he paints this dramatic scene, there are a few broad, imprecise brush strokes along the way – some chords which don’t sit quite right, or fast runs where the notes get a bit lost. However, these are mostly disguised by the overall performance which is exciting and effective.

The second half of the concert is given over entirely to works by Franz Liszt, namely Hungarian Rhapsody No. 2, Concert étude No. 3 “Un sospiro”, Grandes études de Paganini “La Campanella”and Après une Lecture de Dante: Fantasia quasi Sonata. Helfgott is the tour guide through these familiar favourites and if he rushes through the occasional section, he also highlights many new and interesting features which may have gone unnoticed before. Particularly lovely is the Fantasia quasi Sonata in which Helfgott’s personality seems to most closely align with the mood of the composer. Here, the drama and suspense are most called for and Helfgott delivers wonderfully, contrasting an almost decadently ominous opening with moments of quiet, heartbreaking yearning.

Throughout, Helfgott mutters or sings along to his playing and he often communicates with audience, speaking to somebody in the front row, excitedly smiling and nodding towards the keyboard during sections he likes, or even theatrically shaking out a tired hand when it doesn’t have to play for a moment. At first this is a little disconcerting but soon enough the music draws the attention in. Once this has happened, it’s more joining in with Helfgott as a fascinated audience member. He is so focused on the music that it’s impossible not to join him.

Helfgott is not for everybody (particularly Baroque specialists) but it is easy to see why his warm performance and romantic interpretations command a loyal, adoring audience.