Review: Paganini of the Bayan!

Review by Jane Thomas 

Well, we’ve all heard of Paganini, and it’s always alleged that Liszt, on hearing Paganini play, declared that his ambition was to become the Paganini of the Piano, transcribing many of the virtuoso violinist’s compositions for his own instrument. This included the famously fiendish La Campanella, composed by Paganini in 1826; and how appropriate that exactly 200 years later we should be treated to an electrifying performance by virtuoso young bayanist Sofía Ros, in her own equally brilliant transcription!  

But what exactly is a bayan? As Sofía explained, in one of her delightfully informal introductions, it is a chromatic button accordion, developed in Russia in the early 20th century. We were treated to traditional Russian bayan music later in the programme, but the pieces she played to a packed and totally enrapt audience in the first half were extraordinarily effective transcriptions or arrangements, including the Albeniz Cόrdoba with which she began the programme. Many of us would know this as a beautiful piece for piano solo, but my goodness! What a breathtaking opener – with dynamics ranging from a hushed pp to a vigorous ff, and contrasting sonorities evoking the Moorish rhythms and harmonies Albeniz loved so well. This was followed by a sensational rendition of Bach’s famous Chaconne in D minor, where – as many of the audience agreed later – one could almost hear the 16-foot pipes of a cathedral organ thundering out at times! Then we enjoyed a seasonal nod with Tchaikovsky’s delightfully wistful October, before the afore-mentioned electrifying performance of La Campanella. 

 There are performers who seem to have been born to play certain instruments, and Sofía Ros is certainly one of them! When she plays, she exudes what Revista Ritmo has aptly described as “an extraordinary expressive unity with the instrument”. The Albeniz Asturias kicking off the second half took us straight into the world of Andalusian Flamenco, with Sofía’s stance and dignified bearing adding greatly to the effect. A couple of charmingly contrasting Scarlatti sonatas followed, and then we were introduced to two Russian bayanist players and composers – Semionov and Zolotaryov – one still living, and one who died at the tragically young age of 32. The Semionov piece was based on the folk-song Kalina Krasnaya, and seemed to explore every possible sound effect: massive crescendos and a powerful bass reminiscent of the Bach, and a magically lingering last chord. The Rondo Capriccioso by Zolotaryov was as unpredictable as the name suggests, almost frenetically lively at times, with his growing desperation most movingly depicted by the player.  

Piazzolla’s Chaquílín de Bachín was a perfect ending, with his trademark jazzed-up Tango rhythms, searing melodic lines in the slow section, and a fiendish, frantic finale! I say ‘ending’, but of course we all wanted more from this superb young musician, so back she came for a most charming encore, a tribute to her years studying in Scotland: Scottish snap with a Baroque twist, which left the audience smiling and feeling a deep gratitude to Jill Elsworthy, HMC, and to the Countess of Munster Musical Trust Recital Scheme for giving us the chance to enjoy a fantastic evening with the Paganini of the Bayan!