Lyddons' piano duets highlight chamber concert

Cary Smith

November 19, 1988

In a concert more akin to visiting friends gathered together to make music, the Hawaii Chamber Orchestra presented a program with the somewhat misleading title, "The Key to Franz Schubert."

For this occasion the orchestra was reduced to just three musicians. And, not one, but 88 keys were heard in two duets by Schubert for piano, four hands, as well as duo sonatas by Schubert and Brahms.

Paul Lyddon, of the University of Hawaii Music Department, was the musical glue that held the evening together, not only by virtue of his extraordinary pianistic talents, but through his erudite, informative and entertaining commentary on the works presented.

An ardent champion of the unjustly neglected duet repertoire for piano, four hands, Lyddon and his wife Kaoru — sitting side by side, sharing one piano and one piano bench — treated the audience to Schubert's rarely heard "Fantasie" in F minor, D.940.

This work, from Schubert's last year of life, is a broad scaled outpouring of melodic invention in a context both lyric and dramatic. The Lyddons' expert performance exploited the drama in the music, shaping each phrase with sure hands.

One fascinating aspect of two pianists playing the same piano in four-handed style, is how differently the instrument responds to each player. His tone was sonorous and even, while she tended to play more percussively, with less legato.

Gerhard Ausmeier on violin, joined Mr. Lyddon for Schubert's Sonata in A major, D.574. This duo sonata amply illustrates the gift of melody that Schubert possessed in such abundance.

Lyddon proved himself to be an expert and sensitive accompanist as he provided a firm foundation for the violinist's earnest but often misguided efforts.

Ausmeier's usual instrument is the viola and it was announced that he has recently taken up the violin.

While there were some rather good moments in his rendition, they were largely negated by an inconsistent tone quality which ranged from forthright to thinly undernourished. He also came to grief on much of the rapid passage work and his intonation was often painfully imprecise.

After the intermission however, it was an entirely different story as Ausmeier changed instruments for the Sonata No. 2 in E-flat major for Viola and Piano, by Johannes Brahms. The darker, richer tones of the viola, combined with playing that was much more assured and vital made an astonishing difference.

Perhaps Brahms also proved to be a more congenial composer, as there was a wonderful interplay between viola and piano.

The long cantabile line and broad flowing Brahmsian melody spurred each performer to new heights.

Occasional imperfection seemed not to matter, nor to impede the flow of the music or the enjoyment of the audience. Lyddon was an ideal partner, as he shaped the music with skill, power and authority, making the most of rubato and dynamic contrast.

Lyddon, joined by his wife Koru concluded the concert with a scintillating performance of the Allegro in A minor, D.947 by Schubert, known as the "Lebensstuerme."

Schubert makes frequent use of a repeated rhythmic pattern in the bass to create an atmosphere of urgent intensity, while above it float heavenly melodies.

The Lyddons played with insight and understanding as if they were one, never losing their forward momentum. The balance between the two was well nigh perfect as they carried the music and their audience to a most satisfying conclusion.

The concert will be repeated at 4 pm tomorrow at St. Peters Episcopal Church on Queen Emma St.