Concert Performance Reviews
1997-98 Season
The opening of the seventh year of the Rolfs Classical Piano Series had an exciting premier concert on Saturday, September 20, 1997, in the acoustically friendly McIlwain Presbyterian Church, Pensacola, Florida, with the appearance of Donna Stoering. The enthusiastic audience was treated to a concert featuring music of composers from seven different countries in as many genres of piano literature. Additionally, her comments enlightened the audience on each as the concert progressed. This technique helped to bring the audience to a better understanding of the music and its form, the composers and the matrix in which each worked. Her comments on the differences between today's piano and the piano-forte on which Beethoven played were particularly helpful.
Donna Stoering chose a program featuring compositions from established piano repertoire as well as literature of contemporary composers, a signature of her concerts. She opened the concert with a more than adequate performance of the Beethoven Sonata Number 8, Opus 13, Pathetique. She performed with the fire and pathos necessary to accomplish the intent of the composer as he pointed emphatically to the Romantic style in this early sonata. Although her tempi were a little quick and the opportunity for use of more ritardando was sometimes missed, the overall effect was very creditable and musical. Her performance of the g minor Song Without Words of Mendelssohn was a real treat. She demonstrated an ability to allow the melody to soar with feeling and sensitivity.
The Passepied from the Suite Bergamasque of Debussy left us wishing that Ms. Stoering had played the entire suite, as it was executed stylistically within Debussy's impressionistic intent.
The contemporary portion of the program featured tone-poem-like pieces by American composer Brent Heisinger and Israeli composer Yehezkiel Brown. The first was based on an American Indian theme of a grandmother in meditation, while the second incorporated eastern folk dance idioms. Performances of these were convincing and enjoyable, both from a musical and pianistic standpoint and, provided us with the opportunity to learn two new composers. The three dances of Granodos, chosen from his Spanish Dances collection, again demonstrated Ms. Stoering's ability to play music from different world cultures effectively. She captured the feeling of the geographic differences that are evident in each dance, and although pianistically these are not the most demanding of the works of Granados, they were nevertheless stylistically very well performed.
The program concluded with the Chopin Barcarolle, Opus 60, a composition in 6/8 meter which gives the feeling of sailing in a small boat. The to and fro motion of the boat in the waves was carried through the entire piece while accomplishing the pianistic demands inherent in Chopin. This was a nice ending to an enjoyable concert, well within the tradition of excellent performances in the Rolfs Series, and one which particularly broadened the musical map of the faithful Pensacola audience. We were enriched by the quality piano performances of "world musics" presented by American pianist Donna Stoering.
* Dr.Reed is Fine Arts Specialist with the Escambia County Schools, Pensacola Florida, and may be reached at (850) 469-5311 or (850) 469-5600 fax.
The Pensacola, Florida Rolfs Classical Piano Series audience was given an extraordinary musical treat Saturday, October 18 as Russian pianist Alexander Peskanov dazzled, cavorted and mesmerized.
Peskanov began his beautifully designed program by giving a deceptively varied performance of Liszt's transcription of Bach's Organ Prelude and Fugue in A minor. The musical lines were always clearly articulated while the enhancing sonorous effect usually associated with large pipe organs was produced by clever pedaling. The fugue was crisp and clean with a steady rhythm and an occasional staccato articulation to emphasize the base voice. The purity of Bach's contrapuntal writing was constantly preserved.
Peskanov continued with an absolute splendid performance of Beethoven's Piano Sonata No. 7 Op. 10, No. 3. He took the first movement at a blistering tempo tossing off Beethoven's fiendishly difficult passages with seeming aplomb. It was in the second movement that Peskanov mesmerized his audience. His deeply moving rendition was enhanced by his delicate balance of harmonies and melodies. The third movement burst forth with exuberant energy and was played with joyous delight. Beethoven's final movement contains tricky leaps and virtuosic writing, none of which seemed too hard for the Russian pianist. If there were any fault in the entire program, it may have been that the sectional nature of the final movement was magnified- it seemed to lack cohesiveness in its delivery.
The Schumann Arabesque was a delight to be heard. The lyric lines were masterly played with the delicacy of a rose pedal.
Peskanov produced his version of the Czerny Toccata--and what a version it was! All his technical virtuosity, pianistic power and overwhelming sense of fiery display were unleashed, yet the horrifyingly difficult passages remained musical.
After the intermission Peskanov's program moved to the restless romantic spirit with Chopin's Sonata in B-flat minor. Chopin's darker side was immediately evident. The performance was transfixing in its beauty and poignancy. The tragic nature of the funeral march was tempered by a more quickened pace than might be expected, and was more heavy in spirit than tragic. The lyric middle section of this movement may have been the highlight of the program in its sheer beauty, its engaging directness--its emotional and moving playing. The notoriously difficult fourth movement still seems avant-garde one hundred and fifty years after it was written and Peskanov played it brilliantly.
A pianist/composer, Peskanov closed his recital with several selections from his recently released CD 'Spirits of the Wind". The title selection toccata-like and grows into a beautifully and haunting lyric melody. 'LuAnn's Waltz", dedicated to his wife, was filled with lyric writing and clearly delineated harmonies. The "Joker's Waltz" is a self portrait- humorous, light-hearted and filled with rapid fire passages running all around. The final work was 'Carmen Fantasy', his own transcription of the music of Bizet's Carmen. The piece defines virtuosity! It is filled with harder than Liszt runs, crossing hands and repeated notes that seem to be spit out from a machine gun. His highly enthusiastic listeners rewarded Peskanov with a well deserved spontaneous standing ovation for a truly virtuoso and memorable performance.
For an encore Peskanov played his poignant composition 'Clouds'. As a child behind the Iron Curtain he would often stare at clouds watching them move from the free side of the Iron Curtain to his side. He saw the moving clouds as "messengers of freedom". In this reviewer's opinion, 'Clouds" was the best of his compositions.
For his program Mr. Majewski selected the shorter works of Chopin to uncover the complexities of the beloved composer. Paradoxically, nineteenth century composers were prone to write either long, complex works or they composed short, intimate and more personal pieces. These briefer works though were more likely to reveal the personality and true nature and traits of the composer. By choosing such works and reading from letters of Chopin or written about him by contemporaries, the audience was more keenly made aware of the man, giving a clearer portrait than through only the music. The picture is sharpened when both composer and pianist are Polish.
The program was beautifully played. Mr. Majewski stands out as an exceptional pianist. He plays with a singingly effortless lyricism. On constant display was the beautiful interplay between the steady left hand accompaniment and a more free right hand. This interpretation, so characteristic of Chopin's own playing, was the trademark of Majewski's presentation. These crossrhythmic events were executed with clarity and. ease. He never allowed the music to become a virtuosic display, but remained true to Chopin's intention of liberty of expression but disciplined by a steady pulse. It was admirable.
The program included three mazurkas, the unique Polish dance form. It is in this genre that Chopin achieves his most unique compositional style. In its metrical and harmonic structure, this dance is far removed from Austrian traditions. it is boisterous, with displaced accents, and a rough dissonance so uncharacteristic of the more sophisticated Austrian dances. Majewski clearly demonstrated his intimate knowledge of the Polish dance form in his delivery. Carefully waiting to the precise moment, he accented with just the right pressure those precious anomalies.
Mr. Majewski selected several preludes from the Opus 28 series, one of the most important sets of works from the entire nineteenth century. The simple C Minor prelude, so frequently played, was given a unique reading here with the inner voices being emphasized in the final repeated section, almost making it feel as a new section rather than a repeat. It was wonderful.
Majewski is a highly acclaimed pianist and rightfully so. Though imposing in size, he plays with a delicacy of sound, and fluid hand that belies his stature. He seemed in control throughout possessing a technique well in command of the most difficult passage. His hands were delicately in balance and the pedal technique was clean but never dry, He seemed most at ease playing those painful, poignant and melancholic pieces so characteristic of the composer. His playing approached the embodiment of Chopin's own restrained playing. But in a work like the Ballade in G Minor, a work of passion and power, the work Schumann wrote was "the most filled with genius" and Chopin called his favorite to date, was too restrained in its delivery. It never reached a level that captivated, but seem too careful. It was played flawlessly, but fell flat. Nevertheless, the program made a deep and favorable impression on the delighted audience.
This recital gave Pensacola listeners an innovative way great artists are reaching out to present music. The beautiful weaving of letters and music made for an informative and interesting program. It was gratifying to see such a large audience on hand.
David Ott
Jan. 12, 1998
On Saturday, February 7, pianist Raymond Jackson presented yet another fine performance in a series of outstanding performances in this season's Rolfs Concert Series. This Series continues to grow in musical stature and audience size as it is enhanced by its beautiful and intimate setting of the McIlwain Memorial Presbyterian Church.
Mr. Jackson's program of Nineteenth Century Romantic Music gave hearing to both the familiar and the more obscure. Beginning with the Liszt Petrarch Sonnets, Mr. Jackson immediately set the tenor of the entire program by his rather temperate approach to performance. These Liszt works seem to have been written more for Liszt himself than an audience. They are private musings, not public discourse. The works are prone to contemplation and introspection that are given to fantasy4ike wanderings. Mr. Jackson's approach was to underplay the score, preferring to avoid overstatement by holding back tempi, rather than indulge in any virtuosic display. Although the playing was mostly a conservative rendering, Mr. Jackson put a rapturous and captivating closing to the final sonnet. These final moments were spine-chilling.
The highly familiar Sonata No. 2 in B-flat minor of Frederic Chopin followed. This was the third playing of a Chopin sonata in the Rolfs Concert Series within the current season. The beauty of Chopin's compositional genius and his gift to pianists is evidenced by the widely varying performances heard over the season. Mr. Jackson played with a steady hand like a seasoned captain who navigates familiar waters assuring safe passage. His playing features neither unleashed passion nor exquisite introspection. Instead, it is self-assured, consistent and structured. Most memorable was the engrossing middle section of the Scherzo movement. Mr. Jackson's playing rises to rapturous levels in these poignant, long-stemmed phrases that romantic artists were prone to emote. The entire sonata was played with clarity, rhythmic precision and technical accomplishment.
The second half featured three moderate-length works of the lyric writings of Robert Schumann. Destined to a life of mental anguish, but tempered by the love of his beloved Clara, Robert rose above it all to compose some of history's finest lyricism. He wrote poetry rather than prose. Mr. Jackson's skillful playing brought out the simplicity and loveliness of Schumann's melodies. It is the simplicity of this music that defies the complexities of texture and harmonic innovation which both pianist and composer prefer to highlight. Hats off to both!
The more obscure works of Samuel Coleridge-Taylor and Adolf Schulz-Evler closed the program. Two humoresques by Coleridge-Taylor, who is cited as being the greatest Negro composer and one of the greatest English musicians of his time were absolutely delightful pieces. The music is Evely and enjoyable and Mr. Jackson played the works with crisp and clear articulation highlighting these joyful delicacies. The works are not meant to overwhelm. They are, however, a bit repetitive, not given to much development--much like Mendelssohn without the elaboration.
The final selection, By the Beautiful Blue Danube, by Schulz-Evler is a virtuousic treatment of Johann Strauss's masterpiece waltz of the same name. This lighthearted work trades off compositional depth for dazzling embellishments. It was all in great fun and well handled. by Mr. Jackson. For the encore, he played "Sometime I Feel like a Motherless Child." This treatment by Coleridge-Taylor is profound in its rich harmonies and its soulful melody. This one setting whets the appetite to hear all 24 of the composer's treatments of the spiritual genre. The audience sent Mr. Jackson off with a well-deserved standing ovation.
David Ott
With emphasis on piano works of the Romantic period, Rachel Franklin, D.M.A., presented an impressive concert on Saturday, March 28, 1998, at the McIlwain Memorial Presbyterian Church in Pensacola, Florida. This concert was part of what is becoming the premier concert piano series on the entire Gulf Coast. Each month, appreciative and knowledgeable audiences are treated to outstanding performances by a steady stream of today's finest solo pianists.
This most recent concert by Rachel Franklin was a particular treat because in addition to outstanding performances, she took the time to share background information about the music in her chats with the audience. Her insights assisted the audience in gleaning much more from the musical presentations.
The program opened with the organ Prelude and Fugue in a minor by J.S Bach, which was transcribed and arranged by Franz Liszt. All the aspects of romanticism were applied to this work so as to utilize dynamic and tempo variations tempered with rubato, while utilizing the assets of the modern piano. Her playing exhibited clarity in such a complex work, avoiding any blurring of tones through slight separations in the musical lines. She allowed the dynamics in the exposition of the fugue to grow naturally as each voice made its entrance, building intensity and excitement. Only occasionally did she allow the bass voice to obscure the counterpoint.
The program continued with a performance of the Beethoven Sonata No. 26 in E flat, Opus 81a, "Les Adieux." In this, she exhibited a good understanding of the intent of the composition as Beethoven designed it and executed the musical traits of the style to perfection. The only things missing were the repeats, which Beethoven had indicated in the score. The opportunity to re-hear these sections was a disappointment, although this had no effect on the overall quality of the performance. Her delicate treatment of the angular 'loneliness' theme in the second movement was notable and, although she did not use the full tone many use for Beethoven, this was a well conceived and expertly executed performance.
The Chopin Ballade No. 4 in F minor concluded the first portion of the program. Here as well, there was demonstrated a full understanding of style and sensitivity for success. She made us aware of the episodic nature of the composition by the use of different tone qualities and dynamics with each new section. This stimulated our interest in listening to the piece in its entirety. Only on a couple of occasions did she appear to be playing on the surface of the keys and the full tone was lacking. Also, there seemed to be some hesitancy to dynamically come all the way to the full fortissimo at the conclusion.
The second portion of the program continued with the very interesting Valse Oubliee No. 1 in F sharp of Franz Liszt. This set of three miniatures was completed in Liszt's later life and exhibit qualities, which point to Impressionism and atonality of the future. "Un Reve" is very much an atmosphere piece which was portrayed pianistically to perfection. We were drawn into the spirit of the piece and the audience was its most attentive. The "Nuage Gris" seemed to be a venture into chromaticism as well as Impressionism, punctuated with dissonances and angular lines, creating the sensation of 'Gray Clouds' in turbulence. This was quickly followed by the "Bagatelle sans Tonalite," or "Bagatelle without tonality," which is very much like a scherzo in its feeling. Dr. Franklin was able to capture the spirit of all of these adroitly.
The concert concluded with the rarely performed Grande Polonaise Opus 6 of Juliusz Zarebski, a protege of Franz Liszt. All the pianistic gymnastics and pyrotechniques were there and, finally we were able to hear the full fortissimo that was missing in the Chopin. All the runs and octaves were handled with ease and grace which exhibited the fire necessary to have us feel the nationalism in this grand piece
It was a real joy to hear Rachel Franklin in this recital. She possesses abundant technical skill and demonstrated both sensitivity and power in her playing, pulling off this heavily Romantic program almost to perfection. I am sure that in the near future we will be treated to another of her very artistic concerts.
For an encore, which the audience demanded by its boisterous applause, we were treated to Ms. Franklin's other love, jazz. She performed her version of 'Misty,' which contained shades of Earl Garner, the American jazz legend, and the audience was delighted even more.
* Dr.Reed is Fine Arts Specialist with the Escambia County Schools, Pensacola Florida, and may be reached at (850) 469-5311 or (850) 469-5600 fax.
HANNI SCHMID-WYSS
PIANIST
APRIL 25, 1998
REVIEWS
OF NOTE
By
Dr. Larry W. Reed*
The concluding concert in the Rolfs Concert Series was a fitting one to round-out, what has been, its most successful season. The faithful and knowledgeable audience was once again treated not only to wonderful piano artistry but also enlightenment by the performer. This involvement with the audience has become a hallmark of the series and, like adding the sub-titles at the opera, the patrons have responded in a most positive manner. The music-friendly McIlwain Memorial Presbyterian Church once again provided the optimum aural and visual setting.
This season-ending concert featured the artistry of Hanni Schmid-Wyss, Swiss born and educated concert pianist/educator. Her program was filled with the maturity and insight necessary to portray the music of the Classical, Romantic and Contemporary works for piano. The ease with which she approached the program made the audience feel confident that we were in for a musical treat, exemplified through the more causal dress she chose, brightly colored and flowing.
She opened the program with three of the Schubert Moment Musicaux, opus 14. Her choice of numbers 1, 3 and 5 gave us the full flavor of these "character pieces" from one of the masters of program music. The playing was filled with the variety of mood and dynamic changes so typical of the Romantic style. Her tone, though very soft at times, possesses a fullness, which comes through playing into the full depth of the keys. This technique allowed the lyric mastery of Schubert to fully emerge.
In the Mozart Sonata, K.331, really a sonatina, she exhibited a variety of tone and dynamics, especially in the first movement theme and variations, which helped us to focus even more on the genius of the composer. The melodic lines were clean and the delicately treated Alberti bass always allowed the melody, in this rather "right-handed" music, to stay in the forefront.
For the audience to hear music of our own time is always very special. The performance of Waterpieces by Adreas Nick, violinist and professor at the Zurich Conservatory, was a joy. These vignettes of program music, in the Debussy tradition of dealing with the subject of water, were also delightful "character pieces." Nick employs the full assets of the piano with his overtone passages, tone clusters and the Prokofiev-like "toccata" sections of notiness and perpetual motion. The third of these miniatures, "Iceflowers" - frozen water on the window- was particularly nice in its impressionistic approach. All of these were handled with great artistry, although they employ a dissonant style. The fact that Ms. Schmid-Wyss used the score had no effect on the listeners, as it only assured the performance as the composer intended.
The second half of the program was a flawless performance of the Moussorgsky’s Pictures at an Exhibition. As the artist had done before each of the other segments of the program, she gave a short lecture/demonstration as to the history of the composition, and the nature and flavor of each of the movements. Her performance in its entirety, of this monument of program music, showed great mastery of tone color, dynamics and mood as masterfully as the orchestrated version of Ravel to which we are all accustomed.
The combination of artistry, maturity and enlightenment proved to be the formula for success in this outstanding recital presented to the Pensacola audience by Hanni Schmid-Wyss. We can only hope that she will pay us a return visit in the near future to share her rare artistry at the piano and her desire to further enlighten us to the joys of music.
Please take note of announcements regarding the 1998-1999 Rolfs Concert Series, which will be appearing at this site in the very near future.
www.sites.gulf.net/mcilwain/rolfs htm
LWR
Pensacola
4/28/98
* Dr.Reed is Fine Arts Specialist with the Escambia County Schools, Pensacola Florida, and may be reached at (850) 469-5311 or (850) 469-5600 fax.
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