This is Glasgow-based pianist Sebastian Thirlway’s third Fringe appearance and he clearly enjoys being here. Undeterred by the small audience in the newly-refurbished St Mark’s Church, the affable Thirlway put in a committed and strong performance of a tremendously varied and interesting programme.
He began each half of the concert with two of Schubert’s lyrical Op. 90 Impromptus. The first was a treat. A ghostly, pedal-heavy opening allowed for some lovely dynamic contrast later on, and although it was not rhythmically flawless – the pulsating triplets were often uneven – Thirlway’s musicality was unquestionable.
However, a major problem was Thirlway’s lack of a page turner; on several occasions his momentum was disrupted for an inconvenient page turn, not least before the recapitulation in the second piece of Schubert, where he was not so in control of the tumbling semiquavers to be able to get away with such distractions. His agility and regularity was tested once again in Impromptus three and four and, despite some more problems of unevenness, these were mostly unobtrusive and once again there were moments of exceptional musicality creating highly atmospheric contrasts, especially some gorgeous rubato in the final Impromptu.
Introducing each piece in a friendly, informal way, Thirlway followed the Schubert with a jazz improvisation. ‘We’ll see where it goes,’ he said. The punchy, syncopated result could hardly have been further removed from what had come before. Thirlway’s performance, this time much more physical and more emotionally involved, altered accordingly and he looked much more at ease.
Likewise were the Webern variations which concluded the first half. He ominously announced that he would play the third as fast as he could, but he played with excellent control and understanding, almost in contrast to the anxious, gap-filled music.
Later, Thirlway played another, mellower jazz piece, demonstrating excellent finger-work and inventiveness. He finished the concert with yet another leap between styles. Bach’s French Suite No. 4 was comfortable but unexciting; his liberal use of the pedal gave the performance an unusually Romantic feel and deprived it of necessary sparkle.
This is, however, a strong, multi-faceted recital by Thirlway and deserving of a larger audience for the repeat concert next week.
