The Leschetizky Association presents Ivan Gusev in Review
Ivan Gusev, Piano
Tenri Cultural Institute, New York, NY
March 15, 2025
It was an intimate affair at the Tenri Cultural Institute this evening where a small group gathered to hear pianist Ivan Gusev perform a varied program for The Leschetizky Birthday Recital, a yearly event that celebrates the renowned pedagogue Theodor Leschetizky (1830-1915). With a direct line to Beethoven, Leschetizky taught a great number of pianists in the late 1800s, including Ignacy Jan Paderewski (1860-1941) and Artur Schnabel (1882-1951), just to name two. As the president of the association Zelma Bodzin pointed out, one would be hard-pressed to encounter a professional pianist active today that doesn’t inherit at least one of the lineages of piano pedagogy, Leschetizky’s being one of them.
Mr. Gusev’s program was inventive and adventurous – it began with his own transcription of a Fantasia for Keyboard in D (FVB 124) by Thomas Morley (1557-1602), an English composer of the late Renaissance whose compositions were primarily for the virginal, a keyboard instrument in the harpsichord family of that time. The transcription stayed true to the tone of the original work. The sound was crisp and vibrant, and Mr. Gusev’s improvisational approach was expressive yet tastefully restrained. This balance created a compelling and refreshing start to the evening.
A standard piano recital moves chronologically through the eras, and although this reviewer’s taste is to let go of these traditions that can feel restrictive, the arc of this program was thoughtful enough that the following classical sonata was organic to the program – the Sonata in E Minor, Hob. XVI:34 by Franz Josef Haydn (1732-1809). Mr. Gusev launched into the Presto with both vigor and elegance, demonstrating meticulous attention to detail. However, the sense of spontaneity was somewhat lost, as the abrupt rests with fermatas felt overly deliberate. A more natural and unexpected approach to these pauses could have enhanced their impact. The last three octaves could have also benefited from a similar approach. The second movement, Adagio, was performed with fantasy calling back the rhythmic freedom of the Morley work. The last movement, Vivace molto, began at a good clip and with a light and airy touch. A bit more differentiation within the variations of the melodies could have benefited this movement as well as a healthier, more grounded pulse in the E major section. Additionally, a more decisive conclusion would have better served the drama of the work—Mr. Gusev’s tendency to sustain the pedal after lifting his hands occasionally softened the impact of the final moments of the sonata.
Seven Christmas Miniatures (2025) by Siberian composer (and colleague of Mr. Gusev) Roman Khozeev was next. This was a world premiere as the work had just been finished in January of this year. These seven miniatures took us to a variety of sound worlds in which Mr. Gusev was fully immersed. We were taken from a nostalgic folk song to a world with sparseness and openness with the first two movements. The third, a more contemporary and easy-going movement was followed by a playful and innocent scene. The endings of each of these vignettes were sudden but always in character and Mr. Gusev never broke from it until the very last moment. The last movement in particular was full of motion of a delicious dissonances in which Mr. Gusev reveled. The arresting ending was a great finale to the set. One looks forward to hearing more from this interesting composer.
To contrast but also compliment the new work was a warhorse by Sergey Prokofiev (1891-1953), the Toccata, Op. 11. This early work of Prokofiev is known for fiendish difficulty in its motoric sections, especially with the repeated notes, and his use of the grotesque and sarcastic characters is present in full force. Mr. Gusev approached it with precision and control; however, the opening repeated Ds could have carried more momentum to fully establish the exhilarating journey ahead. To heighten the work’s intensity, a performance infused with greater propulsion, fluidity, and dynamic energy would have been more effective—while meticulously executed, this interpretation lacked the visceral impact that gives the piece its driving force.
As part of today’s birthday celebration, Mr. Gusev presented three delightful works by Leschetizky following intermission. A prolific composer as well as a renowned pedagogue, Leschetizky exemplifies the expressive depth and elegance of the Old-World Romantic tradition. These Three Meditations, selected from his Six Meditations, Op. 19, serve as a testament to the lyrical and refined style in which he both composed and taught. Mr. Gusev delivered each piece with a commitment to its distinctive character, capturing their charm and lighthearted spirit. It was refreshing to hear works from this era that remain relatively unexplored in performance.
The popular Arabesque, Op. 18 by Robert Schumann (1810-1856) followed continuing the Romantic-era sound world. The playing was spontaneous with excellent and refined phrasing. This performance was imbued with moments of consolation which were heart-wrenchingly beautiful. The in-between sections, which can be a challenge to some performers were expertly handled, creating seamless and unified transitions.
To end the program, Mr. Gusev chose a large-scale work by Schumann, the Fantasie in C, Op. 17. It is in a work of this magnitude that one can really get to know a musician’s mind at work, and it was apparent in tonight’s performance. Mr. Gusev is an intelligent and unhurried performer. The first movement, which can very often be misinterpreted as one of virtuosic display was rendered with the necessary sweep but with intense care to communicate each nuance. Mr. Gusev was able to sculpt each passage where we were able to hear thematic connections while keeping the overarching construction in mind. The intimate ending of the first movement was particularly special.
The second movement, Mäßig. Durchaus energisch, began in a grand manner and the chords communicated an extravagant sound. The B-section was played with a beautifully intoned sound which highlighted the melodic lines against the dotted rhythms. The notoriously challenging leaps in this movement presented some difficulties for Mr. Gusev, resulting in occasional memory lapses and slight imprecisions, but these minor inaccuracies didn’t take away from the grandeur of the movement. The final movement, the heart of the work, resonated like a meditation, with its seamless texture of broken chords and a lyrical, singing melody – was beautifully done by Mr. Gusev.
The appreciative audience clapped for Mr. Gusev to come back to the stage for an encore and, fittingly, he served us with Träumerei by Schumann. It was intimate and tender. Another round of applause begged for his return and Chopin’s Etude in F minor, Op. 25 No. 2, closed the concert with a buzzing virtuosity.
