Nadejda Vlaeva, piano

Nadejda Vlaeva, piano
Merkin Concert Hall, New York, NY
December 10, 2009

The odds of hearing Prokofiev’s Sonata No. 1 in recital are rather slim (compared to the seventh, eighth, and others), but when a pianist combines it with the Piano Sonata No. 2 of Ukrainian-born Sergei Bortkiewicz (1877-1952), a composer whose works are seldom recorded or performed, one knows that an unusual musical mind is at work. Add the Variations on “Dilmano, Dilbero” Op. 2 by Alexander Vladigerov (1933-1993) and the World Premiere of Lowell Liebermann’s Variations on a Theme of Schubert, Op. 100, and one has a unique evening to remember. That was what it was when Nadejda Vlaeva took the stage recently, offering also some of Liadov’s most beautiful Preludes (the D-flat, Op. 57, No. 1 and the B minor, Op. 11, No. 1) and the much more familiar Sonata “Après une Lecture du Dante” by Liszt.

Ms. Vlaeva showed throughout the evening that she has the intellectual and digital power to play anything she chooses. It was a joy to hear such effortless mastery, though at times things seemed a trifle too easy (revealing less of the involvement that sometimes redeems players of lesser gifts). Such facility may be what pushes Ms. Vlaeva towards the challenges of uncharted territory, but whatever the case may be, her forays are a refreshing break from the standard fare. Her Prokofiev illuminated phrases this listener had forgotten were there. Her sensitive interpretations of Liadov gently bridged Prokofiev and Bortkiewicz (both Liadov students).

This listener was not completely sold on the Bortkiewicz Sonata, which seemed a pastiche of other Romantics without a completely convincing cohesiveness; nonetheless, one has trouble imagining it played much better and will look forward to a second hearing. Ms. Vlaeva has recorded the work and given it its North American premiere.

Vladigerov’s syncopated Variations were a good antidote to this lush romanticism, and Liebermann’s excellent set of variations (commissioned for Ms. Vlaeva) brought Schubert’s “Heidenröslein” brilliantly and expressively into the twenty-first century.

After the Dante Sonata, as polished as expected, Ms. Vlaeva played three encores, Rebikov’s “Christmas Waltz,” Rebikov’s Musical Snuff Box, and Liszt’s “Les Cloches de Geneve.” Brava!

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by Rorianne Schrade  for New York Concert Review; New York, NY

Spencer Myer, Piano

Spencer Myer, piano
Merkin Concert Hall, New York, NY
October 21, 2009

Spencer 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.”

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by Rorianne Schrade  for New York Concert Review; New York, NY

Ensemble du Monde

Ensemble du Monde
Marlon Daniel, conductor
Merkin Concert Hall, New York, NY
August 13, 2009

On August 13th at Merkin Hall, conductor Marlon Daniel and his “Ensemble du Monde” performed Beethoven’s third, fourth and fifth piano concerti. I heard through the grapevine that all five concerti were originally planned. That would have provided more contrast because the first two concertos (especially the second in B-flat) are lighter than the final three, which—when heard together—tend to overdose us with Beethoven’s middle-period drama and heftiness of orchestration. In other words, if you’re going to do several Beethoven Piano Concertos, do the second, first (in correct composing order) and third on one program, and the fourth and fifth on another.

The fine pianist in the third concerto, Richard Dowling, played very well. He occasionally tossed off a bland phrase or two, but that may be my own predisposition to preferring dramatic “Sturm und Drang” performances of this C Minor composition. In the fourth concerto, Kimball Gallagher played with a pleasant tone throughout (although I thought the opening solo phrase was too loud). Sometimes, she needed more invention of shading and dynamics in this work’s tender more tender passages. It was enjoyable nonetheless.

The pianist in the “Emperor” Concerto, Beatrice Long, has a bravura temperament and technique suitable for this large-scale, heroic work, and she displayed musical excellence by bringing out nuances and important harmonic changes in the score. Her phrasing showed admirable shape and contrast; when, for example, a scale passage ascended, there was a slight crescendo to show the direction of the musical line, and vice versa with descending phrases. I wish she had taken the Adagio un poco mosso movement slower; Adagio un poco mosso, after all, means slow with a little forward movement. It should not sound like a Beethoven Andante, which translates to a walking, moderate pace.

Conductor Marlon Daniel has talent and great energy. He does need to watch his concentration; in the Largo of the third concerto, he gave a cue two bars too soon (luckily, the orchestra didn’t come in), and there were some shaky entrances and small lapses of ensemble. I recommend that he keep the volume of the trumpets and timpani down at Merkin Hall, as there was consistent blaring in the concerti’s outer movements.  Still, Daniel and his orchestra have potential, and I would like to hear them again.

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by Anthony Aibel  for New York Concert Review; New York, NY