Saturday, December 3, 2016
Steven Isserlis meets the pearls of wisdom in Robert Schumann’s Advice to Young Musicians, originally meant to accompany the master’s renowned 1848 piano suite, Album for the Young, with directness and allure. Isserlis relates guidance from his vast experience as a performer, educator and writer/broadcaster, which, while closely based on Schumann’s precious aphorisms, adds his own didactic playfulness. His revised suggestions and bonus chapter, which outline his personal interpretations on Schumann’s original work in a light-hearted and humorous tone, avoid the trap of haughty weightiness while managing to address high-minded ideals with the seriousness of the matter at heart. With recommendations like the importance “to stay true to one’s convictions, courageous in facing adversity and to never lose the love for music itself,” Isserlis keeps the conversation simple, real and encouraging, counterbalancing much of the anxiety-provoking frenzy that generally dominates the competitive scenes typical of music institutions. With many contradicting opinions on the subject available, Isserlis does not underestimate the importance of putting things into perspective, especially when it comes to overzealous practice habits: “Genuine technical command allows us to play the music we’re performing without having to think about the [technical] difficulties; it gives us the freedom to listen to ourselves. The point of scales and exercises, ultimately, is to help our fingers/voices acquire the precision they need in order to produce the interpretation we hear in our heads/hearts.” With his don’ts striking wit more often than his dos, he may just prevent another generation’s disastrous misconstruction of the craft: “…Don’t turn your performance into a lecture-recital! How many times does one play Bach, for instance and we hear from their playing what they’ve learned about double-dotting, ornamentation, etc.; and we also hear that they know when the music is changing key, because they take time over every modulation. The music will modulate whether you point it out or not…Ideally there should be no sense that you’ve made decisions in advance – more the impression that you are (re)creating as you perform. That way, the music you play will always sound alive – and new.” Intrigued by the composer’s musical genius, Isserlis, an acclaimed British cellist, has devoted much of his illustrious career up to this point to Schumann’s oeuvre, making him a recipient of the Schumann Prize of the City of Zwieckau, where Schumann was born. The cellist’s chamber cycles have been staged internationally and include programs about varied aspects of the fascinating composer’s life and work, revealing a keen understanding and personal kinship to the fantastical world of the master’s imagination, musical idealism and purity. Especially noteworthy are Isserlis’ efforts in ‘recovering’ the masters’ lesser-known works as part of a vehement effort to promote Schumann. In 2010, Schumann’s bicentenary, he wrote Grammophone (with Philistines in mind): “Schumann’s music is curiously alive today. One cannot pigeonhole him (perhaps that’s why critics have difficulties); he is too experimental, too close to the edge of the known sound world. Harmonically, rhythmically, emotionally he is way ahead of his time – outside of time, in fact, looking simultaneously into the past and the future…In short, he is a genius, unlike any other, one who can lead us into worlds undreamed of by anyone else. Every time I work on his music (as I am now doing for my upcoming residence at the Cheltenham festival), I marvel afresh, not just at the power of his imagination, but also at the brilliance of his mind. It is so exciting to follow his thought patterns as he moulds formal conventions into new, half-hidden shapes: miracle after miracle,” he offers, explaining his ongoing fascination with Schumann, the man his work. “This bicentenary is the chance for more of us to engage with him (concert promoters, record companies and performers permitting). Far be it from me to be fanatical – but if you catch anyone being condescending about any aspect of Schumann’s music or personality this year, please feel free to gently, but firmly, shoot them. For their own good.” Isserlis’ examining of the master’s directions on how to implement artistic goals into routine principals could open up a slew of possible reflections on the creative process. He presents thoughtful critique on the role of the musician within society, the tradition of music education and the goal of music performance to a higher end, leaving room for a more in-depth evaluation of the creative experience of young musicians. While Isserlis could clearly analyze such matters in a wider context, he rather chooses here – in tune with Schumann’s inflections – to adhere to the more concrete approach, giving comprised, practical ‘how-to’ directions, and addressing the nascent musician in this intimate discourse. Bestowed with a direct lineal heritage of musical tradition, as well as a code of ethics, by his great mentors Jane Cowan, Sándor Végh, György Kurtág and Ferenc Rados, each of whom inspired Isserlis the musician and helped shape Isserlis the cellist in their own personal manner, Isserlis the educator is in turn consistently reaching out to the next generation. About the teachers in his life he has said: “I think I am right in saying that all four of these unique visionaries, different as they were/are, shared a basic set of musical values. In every lesson I took or observed with any of them, there was an over-riding goal: to help the student realize the composer’s vision. It hardly needs saying that none of them were interested in career for its own sake – in treating music like a competitive sport, in fact, which alas is the case in all too many institutions around the world today. These sages followed their musical ideals, and tried to help others do the same; what is the point in being a musician if one is not an idealist?” (Quoted from his 2014 speech at the Prussia Cove Chamber Music Festival). One of the fascinating discoveries of Isserlis’ mentorship may lie in his recognition that disciplined timing is everything. A set routine – a crucial element for the fostering of inspiration – builds a central aspect of his illustrated children books: Why Beethoven Threw the Stew and its sequel, Why Handel Waggled his Wig, both published by Faber and Faber in 2001 and 2006 respectively. Implementing good habits from the beginning, Isserlis describes the minutely detailed daily schedule of Tchaikovsky, for example, explaining the importance of making time for the mundane to the process of achieving the sublime: “Tchaikovsky will work from 9.30 until one o’clock. After that will come lunch, the main meal of the day, and then a walk of exactly two hours. (An hour and fifty-five minutes isn’t enough. Tchaikovsky is sure that he needs precisely two hours for the sake of his health.) He has to be alone for this, because he’s still composing in his head. The only problem is that the local children know that he’s a soft touch, because he loves children, and also because he loves to give his money away; so they will probably ambush him and beg for coins until he gives in and they run off, satisfied.” (Quoted from Why Handel Wagged his Wig). Isserlis delivers his commentary with a particular ‘soft touch,’ always reflective of the joy he takes in passing his love for music and Schumann on to the next generation.[/vc_column_text][/vc_column][/vc_row]
From its 2011 beginnings in London’s bustling concert scene, the classical music series ASPECT embraced presentations that integrate classical music programs in a specific cultural framework. With its syllabus of accompanying talks surrounding its traditional classical music programs, examining everything from composers’ lives and the historic relevance of their works, to connections between musical expression, art and poetry, the not-for-profit foundation became widely frequented, especially within London’s large community of actively engaged amateur musicians. ( Photo credit: Andy Filimon – Irina Knaster surrounded by collaborating artists ) A brainchild of Russian-American culture devotee and former pianist Irina Knaster, the series has now – parallel to Irina’s move to New York – found a new musical home at Columbia University’s Italian Academy. The series’ New York debut on October 5th featured a sold out one-off concert, exploring little known links between Mozart and Bach, whose works were performed by stellar artists. Violinist Dmitry Sitkovetsky, cellist Sergey Antonov, violist Dov Scheindlin and pianist extraordinaire Ignat Solzhenitsyn collaborated in various combinations with remarks interjected by Yale’s renowned professor, musicologist Paul Berry to the evening’s thematic: “Bach and Mozart, a lasting influence.” Clearly caught up in his calling, his elucidations might have fared better with a little less lecturing from the page, but his remarks were informative and thoughtful; if perhaps a little too academic for most of the audience members’ tastes. Any disappointment, though, was more than made up for by the stellar musicians who performed with great excellence and passion. Also delightful was the socially openhanded reception in the venue’s substantial foyer following the concert; many of the attending audience members knew some of the musicians, the organizers, or each other, and the crowd’s chemistry and enjoyment clearly evidenced the value of one of ASEPCT’s attractions: a cohesive, active community of musical people and fans of the artists. The attendance of Dmitry Sitkovetsky’s famed mother Bella Davidovich, renowned as one of Russia’s iconic pianists and teachers, was a special bonus, and it did not take long for her to become surrounded by a flock of former students and admirers. An important facet of the series’ inspiration though lies in its alliance with musicians who are not necessarily favored by mainstream audiences. Says Knaster: “Many of the greatest musicians are not interested in or just not invested enough to create a huge PR following around them, but they are the true ‘bread and butter’ musicians, dedicated to music for the sake of music. They devote every minute of their time and effort to their work, learning new repertoire, teaching and well, playing with musicians they enjoy working with already, not necessarily looking out for opportunities that will further their own careers. For me, those are the real kind of artists who deserve support and these are the kind of artists that should be featured in the series.” Knaster’s criterion for choosing performers for her series is neither following in-demand “young and sexy” performers, nor is she exclusively looking for artists who are hugely renowned. She says, “even though artists that have an interesting following are geared to bring along some attractive collaborations, every concert is different. Sometimes programming is conceived around a specific artist; sometimes artists bring a whole concept or a specific presentation along.” Thematic choices of the series have been open ended themes, like “Composers on Composers,” Musical Capitals,” “Great Muses,” or” Words on Music,” with performers touching on a specific angle. ( Photo credit: Andy Filimon, violinist Dmitry Sitkovetsky and Paul Berry) Sometimes it’s either the charismatic speaker who can have an enlightening impact, or the artist who connects particularly well with the audience. Thanks to the great support of the foundation’s sponsorship, Knaster has presented twenty-seven London concerts, pamphlets of each she collects in a big folder that she affectionately refers to as her ‘bible,’ flipping through the pages reminiscing, and a little bit in awe. She has received some positive press, including an article in The Strad, which she feels impacts her audiences less than it does her artists. “It’s a lot of trial and error that makes the series grow, and apparently the more parts there are to an event, the more there is that can go wrong,” she says. It is a risk, however, that the petite yet vigorous young woman, who admits to being somewhat of a perfectionist, is willing to take. “When it all comes together, it’s exhilarating,” she explains, “one of my favorite ones was actually the last concert in London; it just worked perfectly.” She refers to a concert that centered on the love triangle of Shostakovich, Rostropovich and Britten, presented by BBC’s Lain Burnside, a concert she feels had exactly the right balance of instruction, music and personal input, and also benefitted from being presented in the amazing venue, she found after trying other locations for the series concerts: Notting Hill’s recently renovated 20th Century Theatre, which fit the ideal audience of 200 that Knaster had in mind. That last London evening was also enhanced by the presence of a former classmate of Rostropovich, equipped with old photos of him with Britten. “It was just special in every aspect, but projects are likely to take on a life of their own,” says Knaster. 20th Century Theatre, Notting Hill, London, England. Clearly the orchestration of every detail becomes much more important in an overall experience that focuses on music, but does not end there. “In the concert hall, people come to listen to the music, often holding their coat on their lap and then are getting up and leave without talking about their experience much, nor connecting with others. Here, you check your coat at the wardrobe, and you hopefully come away with an all-around meaningful encounter.” Bringing the audience and the artists together, it seems the reception does fulfill an important objective, perhaps by balancing the emotional impact of the music, perhaps by affirming that audience members have become individual members of this newly-created social environment, or perhaps just by allowing that audiences continue to nourish and nosh. While Knaster counts on the help of some of her former London collaborators, especially that of her former Art Professor, Patrick Bade, as well as longtime friend and BBC producer Misha Donat, getting started in New York brings a whole slew of new players onto her team. Knaster’s versatile experiences are certainly a plus in her new endeavor. In addition to her education as a pianist, Knaster absolved a master’s program in art history and studied law, working as a corporate lawyer for an American company in Russia for many years during Russia’s phase of opening to the Western World. For personal advice, she has turned to New York’s legendary Edna Landau, co-founder of IMG and former personal manager of piano prodigy Evgeny Kissin. Edna, whose experience and endless knowledge of everything musical in the city, currently disperses career advice to conservatory students and musical talent throughout the country and knows just about every musician. It looks like even if all the kinks haven’t been ironed out before Aspect’s next concert, it won’t take another twenty-seven concerts to land Knaster’s programing in the public eye as a local institution. New Yorkers may not be able to rely on a community of amateurs as huge and engaged as that which London has to offer, but the New York music scene is quick to pick up on refined programming and solid performers, and not one to dismiss socially accommodating presentations. With political worlds separating society increasingly, perhaps New York needs an active music community more than ever. ASPECT’s next concert, titled “Romantic Vienna,” will take place on January 26th and will present works by the Austrian capital’s musical pillars that frame either end of the Romantic Movement: Schubert and Brahms. It will feature Arnaud Sussmann, violin, Paul Neubauer, viola, Rafael Figueroa, cello and Vsevolod Dvorkin, piano, emceed with an illustrated talk by BBC broadcaster Stephen Johnson. You can read more about this event and about the ASPECT Foundation at www.aspectfoundation.net.
By Jacob Stockinger This is the time of the academic year, the end of a semester, when performers and venues at the University of Wisconsin-Madison School of Music really get a workout. Take this weekend and especially this coming Sunday, which features seven events. There will be two popular Winter Choral Concerts at Luther Memorial Church , 1026 University Avenue (below in 2014) plus performances by the Concert Band and University Bands and a couple of recitals by students. Mills Hall, Morphy Hall and Music Hall will all be in use. Here is a link to the full Sunday schedule with information about the many concerts, but which, unfortunately, does NOT include programs for the choral concerts and a band concert: http://www.music.wisc.edu/events/2016-12-04/ This Friday and Saturday are also busy, though less so. FRIDAY At 4 p.m. in Room 2441 of the Mosse Humanities Building is a FREE public colloquium about the pioneering Romantic French composer Hector Berlioz (below). Here is a description by the presenter, Professor Francesca Brittan of Case Western Reserve University : “Against Melody: Neology, Revolution, and Berliozian Fantasy.” “Complaints levied against Hector Berlioz’s music during his lifetime (and after) were many: deafening, terrifying, “too literary,” “too imitative.” But by far the most pervasive anxiety voiced by critics revolved around Berlioz’s illegibility. In particular, his music was ungrammatical, failing to adhere to the rules of syntax, the tenets of “proper” melody, and the laws of rhythm. “These were not just idle or irritated complaints but urgent ones, linked by 19th-century critics to fears of social unraveling and even revolutionary violence. Berlioz’s musico-linguistic perversion, as one reviewer put it, was tantamount to Jacobinism. This strand of the criticism began in earnest with the “Symphonie fantastique,” a work that usually claims our attention for its orchestrational innovations and autobiographical resonances. “In this talk, I redirect attention to the symphony’s syntax, arguing that melodic-linguistic deformation was at the heart of the work’s radicalism. I link Berlioz’s notions of “natural” grammar (borrowed in part from Victor Hugo) to notions of “natural” sound, and the “natural” rights of man. More broadly, I examine relationships among grammar, revolution, and 19th-century fantasy, between musical neology and the Berliozian imaginary.” The event is funded by the University Lectures Anonymous Fund. For more about Francesca Brittan (below) go to: http://music.case.edu/faculty/francesca-brittan/ At 6:30 p.m. in Morphy Recital Hall, a student brass quintet will perform a FREE concert of music by Johann Sebastian Bach , Malcolm Arnold, Kevin McKee and Victor Ewald . Performers are Nicole Gray, Brandi Pease, Kirsten Haukness, Hayden Victor and Michael Madden. At 8 p.m. in Mills Hall is a FREE public master class with David Wakefield (below), a former member of the American Brass Quintet who now teaches at The Hartt School . Sorry, no program of works to be played. At 8:30 p.m. in Morphy Recital Hall is a FREE graduate student concert of chamber music by Wolfgang Amadeus Mozart . Rayna Slavova is a second-year Doctor of Musical Arts (DMA) student in collaborative piano, studying with professor Martha Fischer. The all-Mozart program includes the Violin Sonata in F, K. 376, with Biffa Kwok, violin (an excerpt, played by Hilary Hahn, can be heard in the YouTube video at the bottom); the Piano Duo Sonata in C, K 521, with Alberto Pena, piano; and the Piano Quintet in E flat, K 452, with Juliana Mesa, bassoon, Kai-Ju Ho, clarinet, and Dafydd Bevil, horn. SATURDAY At 4 p.m. in Mills Hall, the University Strings – made up of talented non-music majors — will play a FREE concert. Sorry, no news about the program. At 4 p.m. in Morphy Recital Hall is a FREE Fall concert by the Flute Studio at the UW-Madison. Sorry, no word about the program or players. At 8:30 p.m. in Morphy Recital in a FREE recital by Seth Bixler who is a senior violinist studying with Professor Soh-Hyun Altino. He will perform works by Johann Sebastian Bach, Wolfgang Amadeus Mozart, Peter Tchaikovsky and Eugene Ysaye. Tagged: American Brass Quintet , anxiety , Arts , autobiography , Bach , band , Bassoon , Berlioz , brass , Case Western Reserve University , Cello , Chamber music , choral music , clarinet , Classical music , colloquium , Concert , critic , David Wakefield , duet , duo , flute , Francesca Brittan , grammar , Hilary Hahn , Horn , imaginary , innovation , Jacob Stockinger , Jacobinism , Johann Sebastian Bach , Johannes Brahms , Kevin McKee , law , laws , linguistic , Madison , Malcolm Arnold , man , master class , melody , Mozart , Music , natural , natural rights , Orchestra , Piano , piano duo , Piano Quintet , quintet , Ravel , recital , revolution , rhythm , rights , rights of man , Romantic , Romanticism , Sonata , Sound , symphony , Symphony fantastique , syntax , Tchaikovsky , The Hartt School , United States , University of Wisconsin-Madison School of Music , University of Wisconsin–Madison , Victor Ewald , Victor Hugo , Viola , violence , Violin , vocal music , Wisconsin , Wolfgang Amadeus Mozart , YouTube , Ysaye
Johann Sebastian Bach´s Mass in B minor is a marvel paradoxically born of earthly needs and made up mostly of remodelled earlier music of the composer. But it sounds absolutely unitary! Moreover, it is so long that it can´t be used liturgically. It stands with the two Passions as the greatest monuments of the German Baroque. Now two Argentine groups have given us a great night at the Auditorio de Belgrano. First, some necessary background. There are four short protestant masses of his (only Kyrie and Gloria) quite beautiful but rarely done. The big Mass is the result of Bach´s tensions with his Leipzig employers and the desire to be named court composer to the Elector of Saxony and King of Poland; he wanted to be recognised by the Catholic court in Dresden, and therefore, write a mass that also included the Credo, Sanctus, Benedictus and Agnus Dei. Although in 1736 he was officially promoted to the appointment he seeked, "Hofkapellmeister", he remained at Leipzig! And the Mass was never played during his lifetime. In 1733 he had already written the Kyrie and Gloria, both much longer than in the four masses mentioned above; they last almost an hour! And they use a five-voice choir and ample orchestration. But as he wrote the remaining parts in the last decade of his life, he got the appointment without having done the Catholic fragments...It would seem that he created the whole vast structure as a legacy of his mature genius in sacred music, much as happens with his Art of Fugue in that particular field. Gradually this Mass was discovered and admired; probably Beethoven felt its challenge when he composed his monumental Missa Solemnis, arguably the other peak of the genre. Bach´s Mass has such immense variety in both the choral and the soloists´ music that the hearer is constantly surprised: consumate mastery and vivid inspiration never flag. In the Twentieth Century the Baroque began to be understood only in the Thirties with artists such as Günther Ramin and Adolf Busch leading the way. After WWII and with the coming of LP recording, style began to change, shedding some of the Romantic distortions; but at first the phrasing was too square. Karl Richter gave impetus and intensity to his readings, and was almost worshipped in our city during the Sixties (Amigos de la Música). Then came the historicist movement in which we currently are: the use of Baroque instruments, faster speeds, impacting rhythms. Some were moderate, like Rilling; others too extreme, like Parrott; the main trend was imposed by such great artists as Harnoncourt, Leonhardt, Gardiner. Here Mario Videla evolved from his Richter influence to that of Rilling, and he has done splendid work with his Bach Academy. Many times he had the collaboration of the Grupo de Canto Coral (GCC) led by Néstor Andrenacci. On the other hand, the Baroque violin virtuoso Manfred Krämer founded in his native Córdoba La Barroca del Suquía, certainly our best instrumental group for that period. And last year Andrenacci and Krämer joined forces for an admirable concert in which they gave us Bach´s six Motets. Now they tackled an even bigger challenge, the great Mass, and have emerged from the test with flying colors. For this occasion La Barroca was 24-strong and incorporated great instrumentalists, such as Gabriel Pérsico (flute), Diego Nadra (oboe and oboe d´amore), the splendid trumpet solo player Cristian Muñoz from Chile, bassoonist Franco Bonino (Chile) and Emmanel Frankenberg from Holland in natural horn. As to the GCC, it added to its 23 singers four more and they all were fresh beautiful voices, honed to perfection by the talent of Andrenacci: disciplined, vivid music making by all players and choristers. The soloists were uneven: the best were baritone Federico Finocchiaro, always steady and clean; Soledad de la Rosa as Second Soprano ( a mezzo register) showed her musicality and powerful lows. Cecilia Arroyo was correct though a bit white; countertenor Martín Oro started poorly but then found his form; tenor Agustín Novillo´s timbre is too unsettled for Bach. We´ve had in recent years two visits by the wonderful Gächinger Kantorei (with Rilling and Rademann) plus Videla´s very honorable version closing the trajectory of Festivales Musicales. Audiences greeted them enthusiastically and so it was now: the battle for Bach´s Mass has long been won. For Buenos Aires Herald
The Herald inaugurates today a new era of weekly Friday appearance and it will continue to cover the relevant news in classical music: opera, ballet and concerts. This first review concerns (paradoxically) the last concerts of the Mozarteum Argentino´s season. As it has done in some earlier years, it said goodbye with masterpieces of the choral-symphonic repertoire, in this case presented by two Berlin visitors: the Rundfunkchor (Radio Choir) and -curiously with an Italian appellation- the Orchestra L´Arte del Mondo. It is a pity that this review only covers the first of the two different programmes, but as will be apparent to readers, this is due to the clash of the second (Tuesday) concert with no less than the Bach great Mass at another venue. On Monday the Colón heard Brahms´ "A German Requiem" ; on Tuesday the "pièce de résistance" was Mozart´s Requiem, and as it lasts one hour, it was heard preceded by a Brahms motet, "Warum ist das Licht gegeben" ("Why is light given") and a curious a cappella arrangement of Mahler´s Adagietto from the Fifth Symphony. The Rundfunkchor was founded in 1925 and has had an important trajectory; its current Director (since last year) is Gijs Leenaars, born 1978 in Nijmegen, Holland, succeeding a famous choral specialist, Simon Halsey. L´Arte del Mondo is much younger; it was founded by Werner Ehrhardt in 2004. As they came in this tour, the choir lists 51 singers, among them the two soloists we heard, soprano Anne Bretschneider (a native Berliner) and baritone Artem Nesterenko (born 1989, Novosibirsk), whose surname is the same as that of a famous bass heard at the Colón in 1982. And the orchestra came with 53 players (among them Ehrhardt as violinist, he is generally conductor) plus two invited BA musicians (tuba, harp). Leenaars conducted. Brahms´ very particular Requiem lasts about seventy minutes and discards the habitual text used by Mozart or Verdi, for it uses versicles from the Old and the New Testaments in the Luther translation; "German" simply because Brahms uses that language. Brahms was incited by both Robert Schumann and his wife Clara Wieck to write a requiem, though they didn´t imagine it would be so original. Also, its progress wasn´t linear; e.g., the second of its seven parts was the reelaboration of a movement from a two-piano sonata that was never finished; other five parts were written later, and the work had a first première in three parts in Vienna (1867) and in six in Bremen (1868); later he added the lovely part with soprano, and it was only in 1869 that the whole score was heard at the Leipzig Gewandhaus. It was soon recognised as a masterpiece and both in length and quality his most valuable contribution to the choral-symphonic repertoire. In 1869 he was 35 and had already written such major works as the First Piano Concerto and the First Sextet. In modern times there has been a plethora of marvelous recordings (Karajan, Klemperer, Sinopoli, et al) and the work has been done quite often in our city; sample: between 1955 and 1968 the Asociación Wagneriana, then a basic institution, presented it three times with its own choir and orchestra. Since that already remote time, it has lost none of its attraction. This year it was offered in BA at the Auditorio de Belgrano (conductor Domínguez) and at La Plata´s Argentino (Vieu). It is a work that shows Brahms´ best qualities: sustained melodic inspiration, sensitivity to the meaning of the words (from the Psalms, epistles of Paul and Peter, Revelation, Isaiah, Matthew, St.James, Proverbs), total counterpoint mastery, an unerring sense of contrast. There´s not a banal or weak moment though it requires total concentration from artists and audience, for it is tryingly dense. The music goes from consoling and serene to stark and granitic, and requires very firm intonation both orchestral and choral. The version we heard was honorable and at times more than that, but it had flaws at various points. I found the choir more even in their performance than the orchestra, who had some maladjustments and doubtful attacks. The speeds were correct but at times the necessary tension wasn´t achieved. The solo singers were musical and pleasant, though the parts can be sung with more personality. And Leenaars, although well-schooled, isn´t yet commanding enough for such powerful music. For Buenos Aires Herald
Chopiniana ended its season at the Palacio Paz with the impromptu presentation of the twenty-year-old Gastón Frydman (due to the illness of veteran Spanish pianist Guillermo González) and the Argentine debut of Szymon Nehring, a true revelation in an all-Chopin programme. Although the cancellation of González was a pity for he has a vast trajectory and would have premièred several recently discovered sonatas by Domenico Scarlatti, it was worthwhile to meet Frydman´s art at a tender age, for he should have a good career. At such short notice, the decisive factor was that he had a varied programme ready for any occasion that might appear. He is a product of the serious training provided by the Beethoven Conservatory and the Colón Institute of Art, among others. He has had some European experience and currently has formed a duo with the accomplished violinist Rafael Gíntoli. His programme was eclectic and difficult. The Busoni arrangements of Bach aren´t trendy nowadays, but they are good of its kind, such as the one on the chorale prelude "Ich ruf zu dir, Herr Jesu Christ" ("I call to you, Lord jesus Christ"); Frydman showed continuity and fine timbre in his interpretation. Beethoven followed, with the wonderful Sonata Nº5, Op.10 Nº1, in C minor, the first one that leads to his maturity. Frydman had some memory errors but understood the forward-looking elements of the style. He was completely in charge of Ginastera´s First Sonata, with its strong Bartókian influence; I only question that the "Presto misterioso" wasn´t, well, mysterious enough. He proved comfortable in Liszt´s arduous music: expressive in the Petrarch Sonnet Nº 47 (not the most popular, but very beautiful), and up to the hurdles of the heavy "Vision", Transcendental Etude Nº 6. In the contrasting world of Debussy, he chose the last of each Book of Preludes: the humoristic "Minstrels" and the virtuosic "Fireworks", both well-managed. Finally, Chopin´s Scherzo Nº1, with its violent contrast between the opening lightning-fast music and the meditative central section well realized by the pianist, notwithstanding small smudges. His encores were interesting: a charming Barcarolle by Anton Liadov (hardly ever played, his abundant piano music should be explored), and one of the splendid arrangements by Earl Wild (the great American pianist who fascinated our city decades ago) of Gershwin songs: "Embraceable you", done with much charm by our young pianist. Wild called them "virtuoso etudes", and so they are. Nehring studied in Cracovia and Bydgoszcz, and won a Krystian Zimerman scholarship; also, he has gone through a gamut of competitions, with ever higher prizes. Although he keeps perfecting his studies, I find him not only fully formed, but in his twenties he must be one of the best Chopin interpreters in the world. As time went by, it became quite clear that he has an exquisite sense of style and powerful, practically flawless technical command. I have some complaints but they aren´t about the music or the playing: almost half-an-hour delay, apparently because the Polish Ambassador and other people hadn´t arrived yet; a change of order in a programme that already was felt as short measure.; and the repetition of two scores that were already heard in the subscription series: the Fantasia and the first Ballad. But what was included satisfied even the severest judges. I will comment the pieces in the order that they were really played (it was announced by Martha Noguera, the organizer of Chopiniana). The lovely Four Mazurkas Op.33 (curiously played in different order: 1,3,2,4, with the fourth having an internal cut because it´s long) were done with the particular empathy that only Poles can have with this rhythm. Followed the meditative Nocturne Op.37 Nº2, and the inimitable tracery of the Barcarolle, executed with astonishing observance of the tiniest detail. The Second Part started with the complex Fantasia Op.49, in which the disparate elements were cunningly integrated by the pianist. Then, the Nocturne Op.32 Nº2, one of the less dreamy and more fluent. A scintillating traversal of the Waltz Op.34 Nº 1, specifically named "Brilliant". And the challenge of the First Ballad, one of the most important scores in Chopin´s life, an enormously varied "narration" that taxes even the greatest pianists, heard in an astonishingly mature reading. The encore was a magisterial rendering of Etude op.25 Nº 11, great waves of sound perfectly controlled. For Buenos Aires Herald
Johann Sebastian Bach (21 March 1685, - 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although J.S. Bach did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France. Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque style, and as one of the greatest composers of all time. Revered for their intellectual depth, technical command and artistic beauty, Bach's works include the Brandenburg Concertos, the Goldberg Variations, the Partitas, The Well-Tempered Clavier, the Mass in B minor, the St Matthew Passion, the St John Passion, the Magnificat, A Musical Offering, The Art of Fugue, the English and French Suites, the Sonatas and Partitas for solo violin, the Cello Suites, more than 200 surviving cantatas, and a similar number of organ works, including the famous Toccata and Fugue in D minor and Passacaglia and Fugue in C minor, as well as the Great Eighteen Chorale Preludes and Organ Mass.
Great composers of classical music