KRISTIAN Lindberg’s concert for NADSA programmed five well-known and familiar composers who span very different musical styles, writes Jeff Collman. However Kristian’s performance at the Courtenay Centre in Newton Abbot took us well beyond the familiar - it was outstanding,

His rendition of Handel’s Chaconne in G had ringing baroque ornamentation, and yes, it had the life of a dance.

Kristian, with reverence, related how Bach was fascinated by other composers’ styles, and he speculated as to how wide his scope of interest would be in modern-day music: Hip-Hop maybe?

Bach’s English Suite No2 in A minor was to follow, English by name but French by nature. The Suite is a collection of 7 dances: some were lively, and there was a stately and reserved sarabande. All were performed with an even, moderate touch and minimal pedalling. This allowed the intricacies of the composition to be clear, as would have been the case with a harpsichord.

It was so refreshing, during the performances of both these baroque pieces, to have forgotten how virtuosic they are. We could just wallow in lush ornamentation and compulsively fascinating patterns. Surely we were experiencing the highest level of artistic performance.

The audience were amused by Kristian, presumably forgetting he was no longer in Norway, starting to tell us about Mozart, in Norwegian. Mozart’s Sonata No 10 in C, took us into the classical style of elegance and lyrical harmonies.

The sensitivity of a piano, for which this was written, brought a new dimension to volume and phrasing, and Kristian illustrated this admirably. It was as though he were playing a different instrument. 

Ravel’s ‘Valses nobles et sentimentales’ threw us headlong into the early 20th century with impressionism in the visual arts and whatever one labels experimentation in music. 

This work had been greeted with boos and catcalls at its Parisian premier, but no such reaction from a Nadsa audience. From the startling opening bars we were taken on a gripping journey of contrasting moods. It was as though Ravel was playing with our senses, and Kristian was masterful.

With Rachmaninov programmed, immediately one thinks of Brief Encounter and the second piano concerto, however his Sonata No 2 in B flat minor is different and less well known. 

Like several renowned pianists before him, Kristian played his own version. With its violent drama and wistful interludes it was heart-rending. Rapturous applause and a standing ovation from the capacity audience followed.

Kristian’s encore, Grieg’s March of the Trolls, was light relief. This concert will be remembered as a high point on many people’s calendar.

This concert was sponsored by Nadsa member Penelope Stinton