Music / Piers Lane, “Piano”. At Snow Concert Hall, June 29. Reviewed by ROB KENNEDY.

LEGENDARY UK-based Australian pianist Piers Lane performed a selection of music from Rachmaninoff and Chopin in the new Snow Concert Hall at Canberra Grammar School.

In just the second concert in the hall’s “International Series”, Lane, known as Australia’s piano godfather, played before a good-sized audience with a level of musicianship that showed why local talent is at the top of the music world.

Opening with an all-Rachmaninoff selection for the first half, the darkly mysterious “Prelude in C sharp minor” Op. 3, No.2. Full of melancholy with its extended chordal opening passage was the entrance for the flourish of notes that followed. It returned to the chordal construction and softly died away.

The sound of the grand piano and Lane’s playing created a mysterious atmosphere. The audio quality of the hall seemed to stretch all around the entire space. It certainly is wonderful, as Lane said it was. But there was an annoying electronic hum coming from something throughout the concert.

All the Rachmaninoff pieces were preludes, except for the final work of the first half. They crossed the emotional gamut. Lane has a delicate touch. His notes fall softly, with the most graceful sensibility. Every phrase evenly stated and positioned. His sensitive expression created a stimulating ambience.

As a taster for what was to come in the second half, the final Rachmaninoff work, “Variations on a Theme of Chopin” Op. 22. This is a mammoth work in multiple keys and styles. Some were reminiscent of Bach, as Chopin loved Bach, so Rachmaninoff had to include his influence. It’s part romantic, classical and baroque, but several pieces were quite tedious over its 25 minutes.

After the interval, it was all Chopin, from the ballets “Chopiniana” and “Les Sylphides”. Beginning with the “Polonaise in A Major” Op. 40, No. 1. Nicknamed “The Military”, it has those overtones, but it’s a rollicking upbeat tune most suitable for grand openings.

The lyricism through Chopin’s music and Lane’s playing were as one. Both perfectly constructed, so much so they melt in the ear. This was most evident in the “Nocturne in A flat Major” Op. 32, No.2; it was like an extended dream.

Not a showy pianist with emphasised gestures or enthusiastic flair, Lane sits composed at the piano and his style is reflected in the music he makes. Maybe that’s not suited to all types of music, but it was with the Chopin. His tone and dynamics always in balance.

This wasn’t a concert of the hits, though there were a few, it explored some not-so-played pieces, like Chopin’s “Tarantella” in A flat major, Op. 33, No. 2. The amazing feat of memory to play the whole concert without sheet music was a testament to the ability and knowledge of this gifted pianist.