The concert began with an enlightened performance of the Mozart Sonata in C major, K330. The entire presentation was characterized by a lightness of tone with crystal-clear soaring melodies over a Classical accompaniment. The pedal was used as an enhancement and was never allowed to cloud the runs, which appear frequently in the right hand. The contrasting sections within each movement of this traditional sonata were presented in refreshing changes of tone. Listeners were always fully aware of new material being presented. There was judicious use of rubato and lovely ritardando at cadences, all of which were quite feminine in character, and the listeners were never aware of a true forte. The high point of the sonata was the lovely second movement, familiar from the movie "Amadeus" with its memorable melody, which was presented with great sensitivity. The third and final movement exhibited an enthusiasm for allegretto while maintaining the characteristic Classical understatement of dynamics. All listeners were appreciative of the performance, which observed repeats, since Mozart must have felt that his creative ideas were worthy of a second hearing ... bravo!

With only a short hesitation to accept the generous applause of the audience, Rodriguez proceeded to the Robert Schumann Carnaval, opus 9. With professionalism and understanding in evidence, we witnessed a total contrast in these miniature character pieces to the Mozart. Listeners were kept on an emotional rollercoaster of tempi, dynamics and styles. Although without the score in front of us it is often hard to map this composition, we were given signals of relaxation, which helped us keep our bearings through the ride. The full range of technical demands was well met by the artist, putting to the test the beautiful Yamaha grand piano, especially in the forte sections. The final Marche seemed to gush forth with special enthusiasm. No doubt Schumann, the music critic, would have applauded this performance, since the technical requirements in many of the vignettes were accomplished with the greatest of ease, and with sensitivity to the 19th century Romantic style.

The second half of the program allowed Mr. Rodriguez to further enlighten the Pensacola audience to the music of the Hispanic tradition, performing the Fandango of Antonio Soler (1729-1783) a Classical Spanish composer, the Three Argentine Dances, opus 2 of Argentine composer Alberto Ginastera (1916-1983) (pronounced "gee-neh-stehrah" by the composer) and the Suite Andalucia of Cuban born Ernesto Lecuona (1896-1964). The performer presented these with a fire and verve that only a true Latin can do. Each possessed the rhythmic drive and folk melodies of the traditional dances and songs, even though the pieces span 200 years, representing both the old and new worlds. Mr. Rodriquez seemed to reserve his most enthusiastic performance for the Suite Andalucia in which he played four of the six movements with great passion. The audience was naturally caught up in the brilliance of the final section, Malaguena. Here we witnessed the outstanding pianistic abilities, which have brought international acclaim to this world-class performer. Even the most difficult passages were approached and accomplished with a feeling of relaxation. We felt a great sense of ease, which aided our enjoyment.

The audience was treated to an encore, after extended and enthusiastic applause, with a performance of the Rachmaninoff Prelude in g minor. Once again, the technical requirements were met with apparent ease, even though there is the realization of the pianistic gymnastics required for such a flawless yet musical performance.

The first half of the concert featured two Beethoven piano monuments, the Pathetique and Waldstein sonatas. Ms. Yablonskaya demonstrated ample pianist skills to handle the difficult passages with agility and ease. The sonatas were approached with a full tone drawn from the Yamaha grand, tone which would surely have pleased the composer. The tempi set in both sonatas were on the quick side. In the Pathetique the ending of some phrases were not rounded off to completion. With the faster tempo there were several instances of unclear passages and chords, and at times the right hand seemed to over shadow the left. The quicker tempo of the second movement presented a rather cool performance, lacking in n the sensitivity usually portrayed in this popular movement.

The Waldstein was almost in direct contrast to the first. Ms. Yablonskaya seemed to be more relaxed and focused, presenting a very musically astute performance. Her rendering of the gigantic first movement demonstrated great skill and endurance required for this landmark sonata. Of particular note was an understanding of the pedaling to bring out the intentions of the composer, very much in the style of the great Beethoven pianist, Artur Schnabel. Except for a few unimaginative imitative repetitions and rushed rests, the performance was one the audience will remember with excitement.

In the second portion of the program, Yablonskaya gave her strongest effort. Her understanding of the Romantic style came through strongly as she presented the Liszt keyboard settings of seven of Schubert's greatest songs. Each possessed the f ire or sensitivity to exhibit the poetry from which Schubert worked. Each stood much like the character pieces of Chopin. A true singing tone brought the Schubert melodies alive, coupled with the pianistic gymnastics as conceived by Liszt. The audience responded with their appreciation. The artist reciprocated with two enthusiastic encore performances. One, a short Scarlatti gem and the other a contemporary Russian piece, full of technical flashiness, which brought the audience to its feet with its most enthusiastic applause.

The Pensacola community was enriched through the performances presented by Oxana Yablonskaya, and we would all welcome her for a repeat performance in the Rolfs Series.

A nearly full house was treated to one of the finest concerts yet in the Rolf's Concert Series at the McIlwain Memorial Presbyterian Church in Pensacola, Florida, on February 20, 1999. The artist of the day, Thomas Pandolfi of Washington, D.C., was a last-minute substitution due to the scheduled artist's unavoidable cancellation.

Mr. Pandolfi began and ended his interesting program with compositions of Franz Liszt, namely the Apres Une Lecture du Dante and Hungarian Rhapsody No. 12. Both were played with the flair and bravado necessary to be true to the Lisztian demands. He displayed more than ample technique to make the audience at ease, and the programmatic aspects of both pieces were presented in a very believable manner. His adroit pedaling helped make for a very clean performance in both compositions.

The most sensitive playing was displayed in his presentation of the Scriabin Nocturne in D-flat, Opus 9, No. 2. This unique piece, for left hand only, found the audience breathlessly caught up in the beautiful presentation. Again, the agility required to present this composition appeared naturally and ever so musically.

This quiet composition was followed by one of the posthumous sonatas of Schubert; the one in a-minor, D. 537 (Opus 164). The artist allowed the singing qualities of Schubert to come through clearly and cleanly. His concept of the composition helped us to see clearly the composer's intent in each of the movements. Of special note was the treatment of the 2nd movement, which was permeated with beauty from beginning to end.

In the second half of the program, Mr. Pandolfi opened with the Samuel Barber Ballade, Opus 46 (1977). This mood piece displayed the variety of style found in the music of Barber, from the impressionist opening and chromatic theme to the percussive Prokofieff-like sections. The wide variety of dynamic choices kept the audience involved.

The Tchaikovsky Dumka, Opus 59 followed immediately, and all were pleased to hear a piano work from a composer not often associated with this medium. Although not nationalistic in conception, the Russian idioms crept in and were clearly presented. Based on a folk melody, it was ever present as a point of reference. The artist displayed his most effective octave-playing technique here.

At the end of the regular program the audience expressed its appreciation with generous applause and Mr. Pandolfi treated them to delightful encores. From The Phantom of the Opera he played All l Ask of You, and after even more applause he concluded with two of Gershwin's own song arrangements of The Man I Love and I Got Rhythm.

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