There was moving lyricism here too until the magnificent coda that concludes the work. The final Bewegt movement was emotionally as turbulent as one could possibly wish, fitting perfectly the idea of 'waves of sound' Joachim describes above.
They connected beautifully to the tender serenade variation of the movement that follows ( Leise, einfach). The second movement scherzo ( Sehr lebhaft) had tremendous forward momentum and drive to reach a climax with the chorale melody ‘Gelobet seist du, Jesu Christ’, played fortissimo by both these brilliant players. Kholodenko and Baeva have such a symbiotic musical relationship the slow introduction Ziemlich langsam - Lebhaft was truly majestic before the heated passionate agitation of the development and coda. It overflows with noble passion, almost harsh and bitter in expression, and the last movement reminds one of the sea with its glorious waves of sound. I consider it one of the finest compositions of our times in respect of its marvellous unity of feeling and its thematic significance. I have extraordinary joy in playing Robert’s works with her, and I only wish you could share this joy … I must not fail to tell you about the new Sonata in D minor which Breitkopf & Härtel will bring out very soon. You know how expressively Clara interprets his music. Bezuidenhout conducted this movement with a similar elegance and emotion to the music itself, yet not denying its restrained passionate content. There is no posturing just the finest of classical balance with a tasteful expression of heightened sentiment towards the central section of this rondo. Bezuidenhout expressed all the wit, tendresse as well as a similar aristocratic poise and majesty as engaged from the first movement. Here too dance music, the gavotte from the ballet music for Idomeneo. Fine legato and cantabile lines. The Allegretto finale is so obviously operatic ,surrounded as it were by the composition of some of the most popular and tuneful of the Mozart operas.
The second movement, Andante, was performed with an affecting limpid innocence, simplicity and calm reflectiveness by Bezuidenhout. The variety of colour he extracted from the Graf, his immaculate articulation, pedalling to vary the timbre and the beautiful registral contrasts were outstanding. Kristian Bezuidenhout conducted the movement from the keyboard fluently and with penetrating, majestic energy.
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