a celebration of the work of Kapustin, in an evening of classical-jazz innovation
Ophelia Gordon’s ‘Between the Lines’ is a recital of the work of Nikolai Kapustin, celebrating this under-appreciated composer. His pieces for solo piano have their roots in the classical tradition firmly weighting them down, but resonant in every phrase is his love for jazz and the inspiration it provided for him.
It is always invigorating to see an artist so in love with their craft, and the whole performance was lit with Gordon’s radiant enthusiasm for the work of Kapustin. It felt contagious; each piece drew the audience in a little more into the sound world you felt she was so hungry for the audience to share.
The show featured various tracks from her recent album of the same name. Gordon’s skill is undoubted and particularly suited to this fusion of genres – she has both classical precision and the necessary flair for the jazz influence. One minute jauntily tapping the white and black keys, the next coaxing out tender harmonies, her renditions surprised and delighted. Her timing was perfect. The notes were allowed to fly, gaining speed and rushing out from under her fingers; then a pause was held, considered.
After performing six of Kapustin’s preludes, Gordon moved onto his Contemplation, Op. 47, one of my personal highlights of the evening. The piece was a move away from the fireworks and dazzling rhythms, and into slower introspection. The influence of the great Russian romantic composers was a moonlit echo in the background, with lyrical flourishes added to the depth of harmony.
Gordon once again demonstrated her knack for the unexpected in her interpretation of Kapustin’s Paraphrase on ‘Aquarela do Brasil.’ The piece is based on one of Brazil’s most famous samba songs, and Kapustin’s version is a brilliant homage to genres, twisting and turning from influence to influence. Gordon shone in this piece; you would think you had caught the rhythm and then it would change again, a fresh surprise that simultaneously felt utterly natural rather than jarring thanks to her unerring skill.
The evening closed with a breathless twenty-five minutes of Kapustin’s 8 Concert Etudes. The Etude No. 3, Toccatina, was particularly striking in its nervous energy and impressive articulation, as was Etude No. 8, Finale. It ended on a rollicking descent, finishing off a wonderful evening of a composer whose innovation has not had the spotlight it deserves. As Gordon said, Kapustin would be delighted to know that his ‘not classical enough not jazz enough’ music is finding a rapt audience in one of the most famous jazz clubs in the world.
Tickets to Ronnie Scott’s upcoming shows linked here: https://www.ronniescotts.co.uk/find-a-show