Scott Cuellar, Pianist in Review
Scott Cuellar, pianist Weill Recital Hall at Carnegie Hall, New York, NY October 9, 2013
Scott Cuellar, pianist
The pianist Scott Cuellar’s recent recital at Weill Recital Hall was a model of excellent programming and execution. His manner at the piano is clean, direct and confident. To these admirable qualities, he adds the ability to illuminate both the external structure and the emotional core of the works he plays.
The two sisters, Katharina and Marianna von Auenbrugger, to whom Haydn dedicated his Sonata in C Minor, Hob. XVI: 20, were held in high regard by the composer, and as a result, this significant work exploits all the tools of both artist and technician. The overtly dramatic outer movements frame an elegant, almost Handelian Andante. Mr. Cuellar treated the sonata as a mini-opera, with long, arching lines and a narrative thrust. All the elegant and expressive trills and scale passages of the central movement were interpreted in this framework, as a soprano would spin an aria.
Nearly the entire recital was presented without a break, allowing the audience to make connections and see patterns in Mr. Cuellar’s deft programming. Fauré’s Nocturne in F-sharp Minor, op. 104, No.1, one of the last by this composer, is a thoroughly modern work, particularly in its harmonic language. Like the Haydn, however, it too is laced with anguish and intensity of emotion. The pianist used a big-boned sound that was orchestral in its depth and coloration. Then with the briefest of pauses, Scriabin’s 9th Sonata began, linking that composer to Fauré both chronologically and developmentally. Although Scriabin did not choose this sonata’s subtitle (Black Mass), the music is surely a supreme evocation of darkness and turmoil, as if inspired by Macbeth’s three witches. Mr. Cuellar amplified his dynamic range further, employing a rich, powerful bass register, with flashes of treble brilliance His pacing and clarity throughout made the wrenching climax even more effective.
It is fitting that the recital should have ended with Schumann’s great programmatic work, Kreisleriana. In its eight movements, it explores a range of emotional states and musical styles. In this finale to the evening, Mr. Cuellar was at his best, virtuosic in scope and expression, like a great man of the theater. His very specific dynamic palette, combined with sensitive tonal shading and a talent for musical mimicry, brought all of Schumann’s characterizations to vivid realization.
Mr. Cuellar has a sharp intellect and the skills to flesh out his ideas. This was a terrific recital, thoroughly enjoyable on a visceral level, and a very impressive introduction to this young pianist.
