Christophori piano salon: the crystallized essence of Berlin

Berlin, Berlin. Berlin!

Víkingur Ólafsson

By Emilija Temirkulovaite

BERLIN/GERMANY: Still the most hyped city in Europe, where good time does not necessarily imply big spendings. And that is only one way to describe what this city is about.

There are rarely times when one`s expectations are met. Even more rarely are they not only met but overthrown in a playful manner of a child, who has just mastered a trick in order to outdo the most skillful adult.

Located in a rather quiet part of the Wedding neighbourhood, from outside Christophori piano salon looks like any other warehouse. However, the excitement is sparked by the mere fact that this place hosts the so-called „ernste Musik“ concerts.

Very unassuming entrance hall, all painted in white, seems almost a strategical move to prepare the visitor for what is to follow.

Artistic impression from Christophori piano salon: the crystallized essence of Berlin, Photo: Emilija Temirkulovaite

A mad artist’s home? A magnified magic box? A secret club? A museum? Dozens of vintage pianos and other several dozens dismantled, each wall, each corner occupied by wooden or metal parts of pianos or piano-repair tools. As one is slowly moving through the narrow pathway towards the stage the repeating of single notes is heard.

There it is, as modest as the stage can be, hosting three grandpianos, one of which is being tuned

.

Víkingur Ólafsson

When the floor is filled with an audience, mostly consisting of locals and regulars, a well-groomed gentleman enters the stage and introduces tonight ́s performer Víkingur Ólafsson. After the usual bowing and clapping Mr. Ólafsson engages with the listeners by presenting the program himself and letting them in on a few of his intimate impressions of the pieces. A wonderful way indeed to open a concert
.

The first series of pieces – birdsong-inspired compositions of  Jean Philippe Rameau, followed by Olivier Messiaen and ending with Robert Schuman ́s The Prophet Bird, which was performed on a 110 year-old Bechstein, restored to perfection to accommodate fast-paced, yet precise playing of Ólafsson.

For the performance of the next piece the pianist decided to switch to the Bosendörfer piano. A five-movement Carnival Scenes from Vienna by Robert Schumann – a complex and challenging work, at times resembling Beethoven ́s grand sound, requires muscle power, versatility, concentration – all of which Ólafsson exhibited and paired with convincing artistic expression, most apparent during the speedy, dramatic Finale in B-flat major, enhanced by Bosendörfer ́s additional octave in bass.

After the interval, filled with conversations about all-things-music, the audience found itself impregnated by Fleeting Visions of Sergeu Prokofiev and by Ólafsson ́s palpable captivation with it, reflected in his avid, punctilious interpretation.

To conclude the program with Ludwig van Beethoven ́s Pathétique was rather an ambitious choice of an artist who without any doubt aims at the „heavy-weight cathegory“. Adagio cantabile was certainly the highlight, lulling the listeners with its melancholicly romantic musical narrative.

For two ancores Ólafsson repeated Robert Schumman´s Faschingsschwank aus Wien Op.26 4. Intermezzo and closed with a beautiful Icelandic folksong – an excellent way to end a captivating evening in one of the most, if not the most exciting spaces in Berlin.