Disappointingly there are no croissants on board the morning Eurostar to Paris, but I impress myself by remembering the word ‘aucun’ as I ask in a sad-girl voice ‘il y a aucun de croissants?’ My effort is indulged with a French reply, the waiter generously deciding not to wade us back to the English part of the language pool, where I can clearly stand better.
On the subject of being out of my depth — it feels important to mention at the beginning of this review about two classical concerts that I really don’t know much about classical music, susceptible to feeling culturally insecure at a classical music concert in a way that I never would at an art exhibition. But Kolesnikov and Tsoy have a way of transgressing the boundaries of the classical music world; they’ve certainly changed my understanding of it completely.
The past few years have seen the two pianists gain a cult following from a legion of influential fans in the creative industries. Earlier this year Kolesnikov programmed and performed a piano concert at Yohji Yamamoto’s fashion show at the personal request of the legendary designer, whilst Tsoy has worked with Richard Serra’s sculpture at the Gagosian Gallery and the Guggenheim Museum in Bilbao.
Jasper Conran describes their approach to classical music as “taking this form we’ve had drilled into us as deeply serious.” Adding that, “obviously they are both really serious, serious people, but they deliver it with this lightness of touch which is just such a pleasure to watch and listen to.” The Hockney concerts are the epitome of this mix.
One day, at David Hockney’s invitation, Kolesnikov and Tsoy performed The Rite of Spring in his studio — an intimate, slightly surreal moment involving a concert grand piano, a riotous score, and a room alive with colour.
The piece is close to Hockney’s heart (he designed a stage set for it in the 1980s), and the encounter became the starting point for a much larger idea. Later, working with former Royal Academy curator Sir Norman Rosenthal — another long-time admirer of the duo — they dove into Hockney’s full catalogue and began shaping a two concert programme that reimagines his visual world through sound.
The concerts function, in Kolesnikov’s words as a kind of a painting or even a drawing, just as the Hockney exhibition reminds Rosenthal of an opera. This is typical of the kind of cross-over between music and other art forms that Kolesnikov and Tsoy are fast becoming known for.
The visuals are certainly striking, against the backdrop of two grand pianos nestled against each other in yin/yang formation, Kolesnikov strides out on stage in a pumpkin orange shirt and fluorescent yellow trousers; Tsoy robed in purple silk. The colours set the tone for the opening piece by Strauss that really captures the feeling of delight.
Arranged as four parts over two evenings, the first night sees the pianists welcome Elena Stikhina, a star opera singer, to the stage, in a bold and unexpected set-list that includes Stravinksy and Wagner, paired with Johann Strauss and Adams. The second night is an eclectic and joyful kaleidoscope of Mozart, Stravinsky, Britten, Satie and Ravel with Stikhina returning, alongside Nicky Spence, a tenor, and two formidable percussion artists Colin Currie and Owen Gunnell.
Like Hockney’s archive, both concerts drive across many different creative terrains. A road trip is a fitting metaphor- the first concert features a special video montage created using footage from Hockney’s so-called ‘Wagner Drives’ around California — the horn-heavy music elevates the drive into an epic voyage. As we watch the Wagner Drives with the backdrop subtly changing around the four passengers, water rushes past down the long steps of the water installation outside LV Foundation, a perfect backdrop.
But the undisputed highlight of the programme is hearing Kolesnikov and Tsoy play four-handed piano, specifically Stravinsky’s ‘Rite of Spring’ and Eric Satie’s ‘Parade’.
Kolesnikov and Tsoy are not just playing the piano, they are creating a universe of colour
At these moments, Kolesnikov and Tsoy are not just playing the piano, they are creating a universe of colour. And the universe they are creating is the universe — instantly recognisable in all its hope, despair and other things we can only recognise on a level that is beyond articulation.
A couple in real life, the pianists arms cross and uncross in what looks like an intricately choreographed dance. At times it seems there are more than four hands. They move so fast they multiply to six, or even eight, compared by one audience member to “an army of crabs.” The mood ranges from competitive, jostling for space, to perfectly attuned to one another — the intimacy is clear.
These concerts were the perfect tribute to David Hockney, an artist who has knocked ‘high art’ of its pedestal with his iPad drawings and career-long incorporation of playfulness and irreverence to his work. Broadening the appeal of classical music, this incredible cultural moment marks Kolesnikov and Tsoy out as two of the most exciting and talented musicians of our generation.
David Hockney 25 runs until August 2025. fondationlouisvuitton
