Freddy Kempf receives a standing ovation at Bridgewater Hall
There are a number of amazing things about Freddy Kempf, and after having heard him play, his age stands out most prominently. Beginning his musical trajectory at age four and being accepted into respectable orchestras at eight, he was something of a child prodigy.
Now, at 32, he plays at Bridgewater Hall and recites selected songs from three of the world’s greatest experts in the field: Fryderick Chopin, Sergey Rachmaniniov and Franz Liszt. His rendition of Chopin’s ballades and his interpretations of Liszt’s dramatic works are both uplifting and moving, but the jewel in the crown is his powerful and romantic tribute to Rachmaninov. Kempf seems expert at building and intensifying moods in Rachmaninov’s carefully sculpted variations, flowing effortlessly from one to the other, embracing his subject’s seemingly random contrasts of major and minor rather than fighting it.
While he is proficient at re-creating these works, he also does an excellent job of re-imagining them – what appears at first improvised is interwoven with virtuoso outbursts, packed with so much energy that it seems entirely plausible that Kempf will at any time physically take off and soar round the room. Kempf is renowned among the classical community for taking risks and this tendency certainly shines through. By adding a touch of his own personality, Kempf dares dip his toe into forbidden territory, indulging in a taboo that, amazingly, he comes out the richer for. Indeed, his playing grips you and refuses to let go; Kempf is happy for you to tag along with him while he journeys through his precisely chosen masterpieces, then unexpectedly drops you in the middle of nowhere when he stops suddenly, and in this context, a three second pause is painful. It’s quite telling of just how captivating his playing really is, that a sudden lull can cause such absurd anxiety.
Bridgewater Hall, being one of the best places in the UK to hear single musicians, compliments Kempf; yet the sight of a venue far from full is a heartbreaking one. The standing ovation served as some consolation, but as it is the UK doesn’t seem to be entirely in tune with his talent, and talent it certainly is. Perfectly understanding and executing his work, while simultaneously sewing his own personal touches means that Kempf’s performance serves as a unique, wonderful experience. If it is true that the best years come with age, then it is difficult to comprehend what Kempf may yet be capable of.
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