There are some artists who demand to be watched as well as listened to. And though he may not know it, Russian pianist Mikhail Pletnev is one of them. As a concerto soloist, Pletnev's unselfconscious body language is fascinating. Following the soloist's simple opening statement at the start of Beethoven's Fourth Piano Concerto, for example, Pletnev folded his arms and looked towards the players, as if to see what they would make of it. The Philharmonia, of course, took the theme and ran with it - and we could assume from Pletnev's shake of the head that he was impressed. Realising that the lengthy orchestral passage would demand a response, he sat back even further, then acknowledged the orchestra's logic with open hands before joining his fingers together as if in thought, and launching into his reply.
This may conjure up a picture of an irritatingly wriggly pianist, but Pletnev is perfectly capable of sitting still. At times he was almost motionless, poised over the keyboard like a cat watching a mouse, waiting to pounce on the next loud chord. His bearing seemed the visual manifestation of an idea: notes should not sound preordained, and each phrase should depend upon the preceding one. This came across clearly in Beethoven's epic Fourth and less well-known Second concertos. Pletnev's playing was spiky, impudent even, but moments of startling beauty crept in. Still, it was the sense that every phrase involved a decision that made this 0a memorable performance from a remarkable pianist.
Strauss's Metamorphosen for 23 solo strings was a strangely mournful, but rewarding opener. This is a very difficult masterpiece to perform: players can find themselves trying to tune in to an individual on the other side of the platform, whom they can barely hear. Christoph von Dohnanyi was visibly at ease conducting the Beethoven, but here often beat a brisk four-in-a-bar that seemed at odds with the long-breathed adagio lines. The subtle shifts in texture and omnipresent quotation from Beethoven came across well. But the fact that Dohnanyi dropped his arms so soon at the end, breaking what silence the cough-ridden audience had given, suggested he too felt the performance could have had more impact.
Further performances at the Royal Festival Hall, London SE1 (020-7960 4242), on Thursday and November 13.
