Jayson Gillham joins forces with the Adelaide Symphony Orchestra and its principal conductor Nicholas Carter to perform Beethoven’s complete cycle of piano concertos. All five concertos will feature in the programmes of four concerts on June 5th, 8th, 12th and 15th at the Elder Hall in Adelaide. These concerts will also be the first ever live recording of all Beethoven Piano Concertos by ABC Classics record label. Find out more about each concert here:
SEE THE REVIEWS:
Review: Beethoven: The Piano Concertos – Concert One, Adelaide Symphony Orchestra
“Jayson Gillham was superb giving a fine interpretation of the solos. The opening allegro con brio movement was especially impressive, and the dramatic ending of the third movement was simply stunning.
Gillham plays with a relaxed elegance and obvious enthusiasm. There is little affectation to his work apart from the occasional celebratory flourish. The audience showed their warm appreciation as he took his bows looking flushed and exhilarated. He rewarded their applause with a brief ravishing burst of Scarlatti.”
Review: Beethoven: The Piano Concertos – Concert Two, Adelaide Symphony Orchestra
“This was another first-rate performance by the ASO, conductor Nicholas Carter, and soloist Jayson Gillham.”
Young Jayson Gillham puts his own stamp on the classics
“Playing all five of Beethoven’s piano concertos in the space of two weeks is a tall order. Halfway through the cycle, Jayson Gillham shows no sign of flagging, far from it – he’s sailing through it with triumphant ease.
The concertos are not being played in strictly chronological order.
The first concert started predictably with the first concerto, but four days later it was the fourth concerto that followed.
It was an opportunity to realise the extraordinary evolution of Beethoven’s music from an exuberant extension of Mozart to music little more than a decade later that was radically new and purely Beethoven.
Jayson Gillham’s performances brought this evolution into sharp focus.
The first concerto was bursting with youthful energy, but the energy was constrained by classical poise.
The fourth concerto in Gillham’s hands was an altogether different matter, with wild flights of fantasy and abrupt shifts from dreamy lyricism to violent outbursts of passion.
It was far from a safe or conventional performance, showing that, as young as he is, Gillham is not timid about putting his own stamp on the classics.
Through both performances, Gillham was ably supported by the ASO under Nicholas Carter. The ASO’s own contribution to these concerts was notable, especially a fine performance of Schoenberg’s complex and difficult first Chamber Symphony, which highlighted the wealth of talent across all sections of the orchestra.”
BEETHOVEN PIANO CONCERTOS, CONCERT THREE (ADELAIDE SYMPHONY ORCHESTRA)
Australian pianist Jayson Gillham gives a mesmerising performance, with Nicholas Carter and the ASO providing perfect support.
Elder Hall, Adelaide
Reviewed on June 12, 2019
by Brett Allen-Bayes on June 14, 2019
“Gillham has had great success with Beethoven in competition and performance internationally, and is quickly emerging as one of the finest keyboard exponents of his generation both here and in Europe. And although he has already released the fourth concerto live in concerto with Ashkenazy and the Sydney Symphony Orchestra, the idea of pairing Australia’s finest up and coming pianist with our finest contemporary conductor in Nicholas Carter to perform and record a cycle is a great one.
“This balance was to be heard in both of the concerti performances with Gillham’s extraordinary clarity and lightness of touch… […] an uncanny sense for the Romantic … […] richly reminiscent of song.” “Vive la jeunesse!”
BEETHOVEN: THE PIANO CONCERTOS, CONCERT FOUR (ADELAIDE SYMPHONY ORCHESTRA)
Jayson Gillham and the ASO end their Beethoven Piano Concerto cycle with the ‘Emperor’, and another standing ovation.
Elder Hall, Adelaide
Reviewed on June 15, 2019
by Brett Allen-Bayes on June 17, 2019
“…from his open flourishes, it was evident that here was a pianist who was well experienced with this work, with a great sense of balance maintained throughout by both the soloist and orchestra. Carter proved an admirable foil supporting the orchestra in a manner which supported Gillham without drowning him out in the tuttis. It was an approach which seemed closer to the idea of the ‘Emperor’ as an ‘Eroica’ with piano obbligato. And in terms of pianism, Gillham brought to bear an appropriate incisive musculature to those left hand runs whilst maintaining the crystal clear delicacy demanded of the right, and this was all achieved with a broad palette of colours.
See interview with Jayson Gillham at the Adelaide Review prior to the Beethoven project here: jayson-gillham-on-beethovens-epic-cycle-of-piano-concertos