Kaufman Music Center presents Miriam K. Smith in Review
Miriam K. Smith, cello
Ming-Li Liu, piano
Merkin Hall at Kaufman Music Center, New York, NY
April 14, 2026
The Kaufman Music Center’s latest Tuesday Matinee concert featured American cellist Miriam K. Smith, joined by pianist Ming-Li Liu. Ms. Smith, clearly on a path toward international recognition, presented a thoughtfully curated program that highlighted both her dazzling technique and her capacity for nuanced, sensitive expression. Having already appeared with major orchestras and earned top placements in international competitions, she brought these accomplishments into a more intimate setting, engaging an attentive and enthusiastic audience with a compelling sense of communication.
The recital opened with Seven Variations on Bei Männern, welche Liebe fühlen by Ludwig van Beethoven (1770–1827). Taking inspiration from a theme from Mozart’s The Magic Flute, the work proved an effective and well-considered choice, gently inviting the audience into her magical sound world. From her first entrance, Ms. Smith’s elegant playing was immediately evocative, as she and Ms. Liu shared both accompaniment figures and thematic material with a strong sense of partnership. Each variation was clearly characterized through nuanced tone and articulation, and Ms. Smith navigated the intricate technical passages with command. At times, however, the piano obscured the cello, compromising the impact of Ms. Smith’s refined playing. Particularly compelling were Variations IV and VI, which were poignant and probing. Variation VII was buoyant in its dance pulse but could have been more clearly maintained through the driving coda.
Next on the program was La Scandinavie (Scandinavian Suite)by Percy Grainger (1882–1961). Known for his deep admiration of Nordic traditions, Grainger drew extensively on Scandinavian folk elements and dance idioms in this work. Smith and Liu demonstrated a clear understanding of this style, shaping its intricacies with care and sensitivity.
The first movement, Air et Dance Suédois (Swedish Air and Dance), unfolded with understated elegance. Smith’s expressive slides felt both natural and profoundly affecting. The contrasting dance section was lively and energetic, suggesting a joyful pastoral scene. In the second movement, Värmlandsvisa (Song of Varmeland), Smith sustained a lyrical, romantic line, conveying a strong sense of pathos while suggesting a distant, nostalgic landscape. The fourth movement, Mélodie Danoise (Danish Melody), was performed with elegant restraint – the closing harmonics were just exquisite. The standout was the final movement, Air et Finale sur des Danses Norvégiennes (Air and Finale on Norwegian Dances). While the piano introduction might have benefitted from more suppleness, it nonetheless established a warm character. The folk tune, with its drone and unadorned melody, was both delightful and deeply moving.
Last on the first half of the program was a set of pieces by Nadia Boulanger (1887-1979), Trois Pièces for Cello and Piano. Each piece inhabited its own distinct character and sound, and Smith conveyed these shifts with clarity and immediacy, drawing the listener into the composer’s imagination. Most interesting of the three works was the third movement, Vite et nerveusement rhythmé (Fast and nervously rhythmic), whose playful, almost circus-like material reminded one of Poulenc, while also evoking the bustling energy of a city with images of machinery in motion, footsteps, traffic, and the constant hum of urban life. Smith was able to capture the élan of this movement with great flair.
First on the second half of the program was the well-known Sonata for Violin and Piano by César Franck (1822-1890), arranged for cello by Jules Delsart. This staple of the string repertoire is a rite of passage for every violinist and cellist and today’s performance was admirable, with many special moments. Ms. Smith demonstrated impressive technical control, which is commendable for such a young musician. There is already a strong musical instinct at work here, and much of it was exciting and thoughtful. As her interpretation continues to develop and mature, I have no doubt that a greater sense of freedom and abandon will further enhance its impact and allow the music to fully speak.
Ms. Smith did not disappoint, but one felt that Ms. Liu could have created more of a magical atmosphere in the opening material. As the movement continued, however, the ensemble flowed and swayed effortlessly, emphasizing the drama between the parts. The notoriously difficult second movement was played with ferocity and sweep. Particularly moving was the third movement where the cello sang solo in a Récitativo. The ensemble, here, was quite ethereal, arresting the attention of the audience. The last movement, Allegretto poco mosso, was also quite satisfying. Each of the climaxes so well-crafted by Franck felt natural and was executed with such honest emotion that it was truly riveting.
The last piece on the program was Humoresque, Op. 5 by Mstislav Rostropovich (1927-2007). This wonderful showpiece was full of effervescence, and one could hear so much through the cello writing, from bees buzzing to cars zooming, and Ms. Smith was able to deliver this with poise and elegance, but also a visceral energy that was palpable in the room. The concert ended with a rousing and well-deserved standing ovation. It is clear that Smith has a long and successful career ahead of her, and I look forward to hearing her in recital in the future.
