Spencer Myer, Piano
Spencer Myer, piano Merkin Concert Hall, New York, NY October 21, 2009Spencer Myer’s biography lists numerous competitions and awards, but he may be bringing more credit to those competitions than they to him. He is a thoughtful, sincerely committed performer who goes beyond mere display, putting the music first. One is sad thinking that any artist has to endure the competitive circuit (or circus), but perhaps it has acted as a crucible for his gifts, for he is also exceptionally polished.
To open his recent recital (presented by Astral Artists), he offered a superb interpretation of Handel’s Suite No. 2 in F Major, treating the opening Adagio movement’s vocal lines with fluidity, sensitive shaping, and excellent balance. The work continued with marvelous transparency of texture, dynamic contrast without excess, and excellent control of the imitative voices in the sparkling final Allegro.
Quite a drastic change of time and mood was effected with Janacek’s Sonata 1. X. 1905, “From the Street.” It was impassioned and convincingly conceived, though some left hand accents were too fast and exaggerated for this listener. Suggesting the outcry of the work’s tragic origins, these articulations can sound hectic, rather than tormented; one cannot doubt, however, that Mr. Myer had his reasons, as the sense of intense feeling and communication was always present.
Schubert Four Impromptus, Op. 90, followed. On paper, this seemed like an unusual juxtaposition, but the solemn narrative quality of the Schubert’s opening was in keeping with the Janacek’s sorrowful “Death” movement, and each ensuing Impromptu was thoughtfully developed. One’s only reservation again was a penchant for highlighting inner lines and lower voices to an exaggerated degree.
Myer’s performance of Copland’s Piano Variations was one of the best in memory, with consummate clarity and projection of its inner workings. “El Amor y la muerte” and “Los requiebros” of Granados (from Goyescas) closed the recital with considerable color. A few slightly labored moments in the latter did little to dull one’s favorable overall impression that Spencer Myer is an artist to watch. A standing ovation led to encores of Debussy’s “Poissons d’or” and Earl Wild’s transcription of Gershwin’s “Embraceable You.”
