Introduction
Pöntinen has never favoured the idea of ”specializing” in any particular repertoire. What matters to him is to get into the core of the music itself and try to grasp the intentions of the composer. Therefore You are as likely to hear him in a Beethoven Sonata as in Ligeti’s Pianoconcerto,or a virtuoso 19:th century salon-gem or Schubert’s last Sonatas. The vast literature for solo piano from Bach to Xenakis is almost an embarrassment of riches and offers endless possibilities when creating recitalprograms. There is always some kind of twist,something unorthodox in a Pöntinen-recital, as he wanted to challenge both himself and the audience.
One of the simplest means to create a stimulating structure is of course to work with contrasts.On the other hand unity of expression,almost on the brink of monothony,can also be effective if one wants a highpoint to stand out clearer. Typical for Pöntinen is the way in which he juxtaposes pieces from different periods and at the same time ,on an other level,exposes similar mental states from various angles.
Behind a seemingly conventional programme with house-hold composer-names there can be more than one surprise. Pöntinen’s latest recital in Konserthuset,Stockholm on October 22 ,2003 ,that attracted more than 1200 listeners, is a case in point.
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In past times the Liszt transcription of Bach’s organprelude and fugue in A minor would have been an obvious opening.If You hear a Bachtranscription nowadays it would most often be the Bach-Busoni Chaconne.The chronologic step to Beethoven is conventional,but definitely not to play the Bagatelles Op.119.Instead of the obligatory Appassionata or Waldstein the audience was faced with the enigmatic,whimsical last creative phase of Beethoven. The Bagatelles are (at least from No.6 and on) ”metamusic-music about music” and in some moments the condensed ideas evaporates by themselves.This is the world of the late quartets more than any of his pianomusic. By combining an intimate Beethoven with Chopin’s arguably most violent and virile piece-the F sharp minor Polonaise-Pöntinen challenges all prejudice expectations about these two composers. The second half had nothing commonplace about it: The world premiere of his brother Stefan Pöntinen’s explosive ”r a n d” was followed by the large canvas of Rachmaninov’s rarely played first Sonata. Two pieces-Almería and El Polo from Albéniz’ endlessly fascinating Iberia concluded this unique recital. |
Playing all the twelve pieces of Iberia is Pöntinen’s next big project.
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