Music / Magic, Spells, and Other Worlds, Ivan Horvatic and Andrew Rumsey. At Greenaway Studio, October 3. Reviewed by DAVID WHITBREAD.

What a charming and magical, practically perfect program of works arranged for one piano with four hands this was.

A capacity audience at the lovely Greenaway Studio salon numbered nearly 70 surrounding the piano. We thoroughly enjoyed a dazzling display of masterworks by composers that read like a who’s who: Schubert, Greig, Ravel, Mussorgsky, Gluck and Dukas (with encores by Greenaway, Tchaikovsky and Khachaturian as well).

The rather unusual prelude was a vocal work with guest tenor Andrew Barrow accompanied by Southern Highlands-based international pianist Andrew Rumsey.

Low, slow pianissimo opening chords had an almost muted warmth before the rich tenor solo sang Schubert’s Der Doppelgänger with great diction in German, and impressive dynamic control. An interesting and arresting opening, but somewhat anachronistic to what followed.

Rumsey then introduced his co-conspirator on the keyboard, Zurich-based international pianist Ivan Horvatic.

They demonstrated great rapport and Horvatic later said when playing with Rumsey “things just click”. Indeed, they are simpatico (like their socks). Which you sort of need to be when you are tangling four hands on one 88-note keyboard.

Both pianists shaped melody crisply and crafted impressive chord transitions throughout the afternoon.

They displayed amazing dexterity when they crossed hands (often with themselves, but also with each other).

Their dynamic contrasts from silky softs to rhythmic fortissimos spun spells throughout. They also switched sides of the piano (and pedalling responsibility) throughout the recital.

Peer Gynt’s Morning Mood and In the Hall of the Mountain King contrasted beautifully and set the tone. Eye contact between the players in the quirky opening to the Mountain King showed the fun approach they share. Their staccato got to impressive speed but also contrasted with their often simultaneous sustained notes.

Three pieces from Ravel’s Mother Goose Suite included the still and sinuous Pavane, the crisp detailing and lovely filigree of the Empress of the Pagodas, and the mimicry and matching interpretation of lines from both players in the Enchanted Garden.

The first major work was Night on Bald Mountain, which had clear accents, and nicely characterised lines that recalled their familiar orchestration. At times it has the mood of a frenzied Russian folk dance.

The arrangement used the full keyboard – and the players’ inner hands were great at identical touch for unison chording and runs, while their outer hands had responsibility for melody and bass line respectively. The abrupt stop of the wild action worked – twice! And the final quiet sustained ending was sweet.

A perfect foil was delicate Dance of the Blessed Spirits used as an aural cleanser before the finale.

The final major work was The Sorceror’s Apprentice with its mysterious high opening and then its funny bassoon theme entering.

Both players clearly loved playing this fabulous arrangement. Their cross-rhythms were slick, and they showed great dynamic control as they scampered across the keyboard. The audience was leaning forward in anticipation throughout. It was mesmerising.

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