Wednesday, May 09, 2012

Angela Hewitt Review

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Thanks to Ionarts blogger and music critic for this review of the May 6 recital by Angela Hewitt:

8.5.12

Angela Hewitt: Art of Fugue

available at amazon
Bach, Keyboard Works (15 CDs),
A. Hewitt


available at amazon
Rameau, Keyboard Suites, A. Hewitt


available at amazon
Couperin, Keyboard Music, Vol. 2,
A. Hewitt
This review is an Ionarts exclusive.

When Angela Hewitt comes to the area, Ionarts is there -- in 2009, 2006, and 2003. Right on schedule, the Canadian pianist, an Ionarts favorite in Bach and other Baroque music, came to Baltimore's Shriver Hall on Sunday afternoon. We are lucky, as it turns out, that she made it: after a performance in Nashville in early March, Hewitt underwent some emergency surgery, a situation that she naturally prefers to keep private but that was scary enough for her to comment on in a recent statement on her Web site. Her recovery, fairly arduous, forced her to cancel recitals in Copenhagen, Birmingham, and Berlin, and concerto appearances in Brussels and Ankara, after which she returned to her planned schedule in Dublin on March 30. She made no mention of her ordeal on Sunday, but it did apparently occasion a change in the programming of this recital, with Rameau (alas) replaced by some 19th-century French music. I say this not out of disrespect for Fauré or Ravel, but because my chances to hear Rameau's keyboard music live are so depressingly rare.

A François Couperin set was limited to four selections from the composer's Sixième Ordre, arranged in a sort of mini-suite. These pieces were impeccable in the way one expects of Hewitt: crisp ornaments, gorgeously shaped phrasing, variation of dynamics and articulation. Putting the lie to the sometimes repeated assumption that all Baroque music sounds the same, Hewitt drew a different character from each movement, with a languid Les Langueurs (so much made of so little on the page), an understated way with the famous Les Barricades Misterieuses, and a rug-cutting Le Moucheron -- a gnat dancing a jig. Bach's fifth French suite (G major, BWV 816) was likewise a marvel, with charming embellishments adorning the repeats, even in the spirited, bouncy Gigue. The Sarabande was exquisitely turned, perhaps wallowing just a bit too much in the details, but the buoyant Gavotte, light with the sense of dancers' leaps on the strong beats, was about as perfect as it could be.

After her surgery, Hewitt has written that she did not touch the piano for over a week, coming back to practicing eventually by taking her first look at the score of The Art of the Fugue, which is planned for performances at Royal Festival Hall next season. We had a sneak preview of her thoughts about the piece because she played the first four contrapunctus movements, and my advance response is that it is going to be very good indeed. In brief comments, she admitted that she thought that the sections of this complicated piece would all sound the same. With that in mind, she quickly dispelled that assumption with four different styles of performance in these movements: a jaunty no. 2; a tortured, wandering no. 3; a whimsical no. 4 dotted with the little two-note motif she identified, quite convincingly, as a cuckoo's call.

The rest of the program was given over to Hewitt's recent fascination with 19th-century French music, which will be the subject of the disc she plans to record in August. She made Fauré's Thème et Variations in C-sharp minor, op. 73, a rather odd and rambling piece, into something delectable, especially the slow, delicate inner variations. Even better, because it is stronger music, was Ravel's Le Tombeau de Couperin, an evocation of the French Baroque to which Hewitt applied her whole bag of Baroque tricks. The Prélude was fleet, vanishing in a puff of sound, and she did nothing to exaggerate the delicious, extravagant harmonies of the odd Forlane, thinking first of the sense of the dance. A feisty Rigaudon and a cool, unemotional Minuet led to an athletic Toccata that nevertheless revealed a few unexpected slips in Hewitt's technique. One is so used to everything being just so and in place with Hewitt's playing, but she is not the sort of power player who can flash her way through a piece like this on nothing but adrenaline. (Lingering after-effects of her surgery could also be an issue.) With the encore, Debussy's omnipresent Clair de lune, from the Suite Bergamasque, we were back in the realm of the expertly carved miniature, which makes the prospect of a Hewitt Debussy disc, planned for release sometime in the fall, a palatable one.

Next season's series of concerts at Shriver Hall will feature the Brentano Quartet (October 14), Europa Galante and Fabio Biondi (November 4), pianists Piotr Anderszewski (December 2) and Marc-André Hamelin (January 27), mezzo-soprano Magdalena Kožená and pianist Yefim Bronfman (February 17), violinist Nadja Salerno-Sonnenberg (March 3), violinist Alina Ibragimova with pianist Cédric Tiberghien (March 16), the Pavel Haas Quartet (April 7), and cellist Alban Gerhardt with pianist Cecile Licad (May 5).
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Monday, April 16, 2012

Read Tim Smith’s review of this weekend’s performance by the Takacs Quartet

Posted by: sjacobsohn

Takacs Quartet reconfirms its stature in Shriver Hall concert

The Takacs Quartet first came to attention in Budapest more than 30 years ago and quickly earned a prominent place in the chamber music world.

A few personnel changes over the decades have done nothing to diminish the quality and stature of the ensemble, currently based at the University of Colorado in Boulder.

That point was driven home Sunday evening in an appearance for the Shriver Hall Concert Series.

At the start of the program, the players dug into the Debussy quartet with a dark sound and, in the score's more animated movements, a muscular articulation that drew out the music's inner strength.

Janacek's brilliant Quartet No. 1, nicknamed the "Kreutzer Sonata" after Tolstoy's story of love and jealousy, inspired a taut, superbly articulated account from the Takacs group.

The occasion also provided first violinist Edward Dusinberre an opportunity to demonstrate his … 

considerable gift for musical stand-up -- OK, he sat down while he introduced Janacek's challenging work, but the effect was the same. The fiddler's delivery had a seasoned entertainer's charm and timing.

Beethoven's Op. 131 could not help but seem even more adventurous and forward-thinking after the Debussy and Janacek pieces. The players delivered the seven-movement score in a cohesive, thoroughly absorbing sweep, finding rich character and myriad nuances of tone and dynamics at every turn.

PHOTO BY ELLEN APPEL

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Wednesday, March 21, 2012

2012-13 Season Announced!

Posted by: sjacobsohn

Tuesday, March 20, 2012

Read Tim Smith's Review of Richard Goode's Recital

Posted by: sjacobsohn

From The Baltimore Sun’s Tim Smith:

http://weblogs.baltimoresun.com/entertainment/classicalmusic/2012/03/satisfying_sonic_sunday_bso_wi.html

Satisfying sonic Sunday: BSO with Belohlavek, Richard Goode at Shriver Hall

On Sunday afternoon, I took in a couple of highly satisfying performances.

“After the BSO, it was time for the Shriver Hall Concert Series and a typically eloquent recital by Richard Goode.

The pianist, who hummed along at times (well, I hope that's where the humming emanated from), began with two dramatic Mozart items -- the C minor Fantasie and C minor Sonata, which were linked together to make an even richer statement.

Although Goode had the music in front of him, he sounded thoroughly at home. The playing had a strong dynamic edge that pointed up how much Mozart was pushing the keyboard of his day, paving the way for Beethoven to push it further.

This, naturally, helped connect the Mozart pieces to the next work, Beethoven's Sonata No. 18, which Goode (now from memory) played the heck out of. The dashing Scherzo and witty finale were dispatched with particular brilliance.

Chopin was the focus after intermission. Where some pianists tend to bring out the softer side of the composer's music and others the muscular, Goode managed to honor both. Although he rushed through some waltzes, he still managed to produce lovely touches. Most impressive was his handling of the C-sharp minor Scherzo, marked by understated virtuosity and poetic richness.

I loved, too, Goode's encores -- Chopin's C major Mazurka (Op. 24, No. 2), with its piquant twists and turns; and Schumann's "Traumerei," phrased with effortless grace.”

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Tuesday, March 20, 2012

WBJC Review of Richard Goode's Recital

Posted by: sjacobsohn

From

http://www.wbjc.com/2012/host-blogs/coming-to-grips-with-the-composers-central-thought/

“Coming to grips with the composer’s central thought”

By Judith Krummeck | Posted in Host Blogs | 2 Comments

You can tell when the big guns come to town by who is in the audience. I saw Leon Fleisher walking up aisle at Shriver Hall yesterday evening during the intermission of Richard Goode’s recital. It’s been a couple of decades since Goode played on the Shriver Hall Concert Series, and it was certainly wonderful to welcome him back. He must be nudging 70 by now but the marvelous thing about pianists is that, like wine, they tend to age well.

Goode did an [...]

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