The idea of Stravinsky's Petrushka and Mussorgsky's Pictures at an Exhibition being performed on two accordions seems like a bizarre musical joke. But James Crabb and Geir Draugsvoll are on a mission to transform the image and repertoire of the accordion duo. And such was the conviction of their performances that these two masterpieces seemed made for such an approach.
Their transcriptions of both pieces are feats of technical brilliance. They somehow manage to juggle the multi-layered textures of Stravinsky's ballet, and deal with the tortuous complexities of Mussorgsky's Pictures. The whole first scene of Petrushka was a revelation, not only because of the players' dexterity, but also because the sound of the accordions was an uncanny match for Stravinsky's orchestration.
The piece, far from palely reflecting the orchestral version, gave it a new dimension. The mechanics of accordion-playing are already theatrical, but the duo created an intricate dance of gestures. At the beginning of the second scene, Crabb made a drum from his accordion by slapping its bellows while Draugsvoll's instrument wheezed in sympathy. It was a moment that reduced the audience to laughter and applause, but it also signalled the physical drama of the playing.
In fact, the accordions became characters in the drama. The end of the piece had a tragic intensity, as the players and the instruments collapsed together. Far from a freakish arrangement, this version of Petrushka represents a unique reimagination of Stravinsky's original.
Although their version of Mussorgsky's Pictures did not transcend its source with the same intensity, it was still a powerful performance, from the colouristic brilliance of Tuileries to the grandiose Great Gate of Kiev.
