Mozart did it. Liszt, famously, too. You could hardly stop Bach and Messiaen – even Boulez dabbled. But at some stage improvisation disappeared from the concert platform; experimentation became something to do privately and in advance rather than in public and in real time. Unless you’re Venezuelan pianist Gabriela Montero, who has spent a career reinstating the art on the concert platform.
So far Montero’s three-concert residency at the Barbican hasn’t yielded an opportunity – not so much as a cadenza – so I suspect many of the substantial audience for her solo recital were there in hopes of hearing more than just the advertised programme.
