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Isler's Insights Donald Isler's thoughts about classical music, the piano, teaching, recordings, reviews, etc.

Thoughts on my experiences and observations from a life-long love and study of music. There are articles here about the piano, teaching and related subjects. Also here are interviews with people of importance to the music world such as Jerome Rose, Jerome Lowenthal, Efrem Briskin and Robert Sherman as well as thoughts about the music in her life by Dr. Ruth Westheimer.

13/08/2025

1910 Was a Good Year!

In 1910 Willian Howard Taft became the first President to throw out the first pitch at a Major League baseball game. That was on April 14th.

A week later, on the 21st, we lost one of our most important writers when Mark Twain died.

Many other events happened that year, too.

But on the whole I think of it as a good year. Why?

Because eight memorable people I (much!) later knew were born then. Though most of their parents were probably not concerned with the events above as seven of the eight were born in Germany. (Their parents may have been more focused on the doings of Kaiser Wilhelm II and his government!)

Something else interesting about this group is that, with one exception, all of them lived to a high, or even extraordinary age.

The exception was the one I may have known longest and best, Dr. Hans Wolff (1910 - 1975). My parents met him in 1950 when my mother went to work as a nurse at the Hospital for Joint Diseases in Harlem. Hans had a long career there as a respected orthopedist and his wife, Eleanor was also a nurse there. The Wolffs lived in Riverdale, in the northwest corner of the Bronx, an area which combined the best characteristics of the city and the suburbs. They convinced my parents to move there, too. It was a wonderful neighborhood for my brother and me to grow up in, as did the Wolff's sons, John (now Yonason) and Paul.

Hans was an outgoing, robust, and positive individual with a good sense of humor. Which was impressive as he had a lot of sadness in his earlier life. Though he was the son and grandson of doctors, he never knew his grandfather and he barely knew his father, who died when he was 2 1/2. Many years later, during World War II, his mother died in a concentration camp.

Hans and Eleanor met during the war, when both served in the American army, he as a surgeon, she as a nurse. Though Hans was a German Jew, like my parents, he was the exception in that he didn't marry someone from the same background. Eleanor was a proud New England Yankee, from western Massachusetts with Mayflower ancestry. But Hans and Eleanor had a wonderful marriage, were particularly close friends of my parents, and Eleanor fit in well with all the other friends.

In 1972 Hans had to retire after being diagnosed with ALS. His family took excellent care of him those last three very difficult years. (My parents also visited him often until Eleanor told them it was too exhausting for Hans to have any company aside from the family.)

Fortunately, Eleanor, a lady with a lot of s***k and initiative, had a long and interesting life after losing Hans. She moved back to Hadley, Massachusetts, where she had grown up, and built a house. Long interested in both family history and American history, she got involved in the local historical society.

One day the historical society received a letter from a clock maker living in South Carolina requesting information about a famous clock maker who had lived in the area. Someone said "Why don't you write the man a letter, Eleanor?"

So Eleanor did. (As I heard the story) the letter began, "Dear Mr. Stratton, I don't know anything about clocks, but that man was my great-grandfather."

The long and short of it is that a correspondence ensued, and eventually he came up for a visit. And sometime later Eleanor married Charles Stratton and they had more than 20 good years together!"

Heinz Brock (1910-1997) was a first cousin of my father, and the brother of Lotte Brock Passer, a remarkable lady who in 1939 got papers to get 59 (Jewish) friends and relatives out of Germany and into England just in time.

Unlike his sister, who moved to England in 1934, Heinz left Berlin for Palestine (later Israel) in 1935 but relocated to Great Britain around 1949. I first met Heinz and his then wife, Susi, when they visited America in 1963, and saw them several times later in the 60's when we visited London. They were always warm and hospitable.

The one member of the "Class of 1910" as I'll call them, who was born in the States was Dr. Benjamin Kotkov (1910-2006), the father of my friend, Frank Kotkov. A native Bostonian he had a charming Boston accent and a no-nonsense practicality as well as a sense of humor. A man of numerous accomplishments he had achieved smichah (ordination as a rabbi), but made as his primary profession psychology, devoting himself to serious study, and dedication to his patients, whom he continued to see till he was quite old. His wife, Sally, was lively, cheerful, and much interested in the arts. Though she "ran the show" at home (ie maintained the household) for many years, it was impressive how he took over doing everything during her at least 15 years of decline resulting from dementia. Even when it would have been easier for him to have her in a facility, he insisted on caring for her at home. He did such a good job that she actually survived him by a few months when he died at the age of 96.

Vera Meibergen (1910-2015), a cousin by marriage, was so nice the one time I met her that I stayed in at least occasional contact until she wasn't able to come to the phone anymore. She lived in San Francisco and when I visited there in 2002 invited me to lunch. We were walking along the street to catch a bus to the restaurant when she noticed the bus down the block, and started running towards it, so as not to miss it. Only once we were on the bus, did she, a little bit breathless, tell me she was 92! Later on she moved to a senior residence with many activities for its residents. I remember speaking with her over the phone on her 102nd or 103rd birthday. She told me she had had a busy day attending, I think, a fitness class, and later, a lecture. She passed away a week before her 105th birthday.

Ellen Oberlander (1910-2001) was a cousin and the sister of Margot Hochberger. But whereas Margot lived in New York, and was always one of my several ''favorite aunts", ie older cousins of my parents, Ellen lived in England and was less in touch with relatives. So I only first met her on one of my trips there when I was close to forty.

Ellen and Margot had quite a tragic family history, and their experiences were very different. Their parents both died when Margot was three, and Ellen was eight. But whereas Margot was adopted by a well-to-do aunt and uncle who had no other children, this couple only wanted the "cute little one," not also the traumatized eight year old. So Ellen went to live with another aunt and uncle who already had two children, and sometimes treated her as a step-child.

Ellen staged the "rebellion" against her family by leaving Germany in 1931 for Italy. And, rather at the last moment, she was able to get to England in 1939. In England she was, at least, safe, but alone. She took a job as a nanny in the countryside. She felt quite isolated from everything she was used to, especially with her then limited English, but was happy when someone gave her a bicycle, so she had a bit of freedom to get about on her days off.

On one such day off she was eagerly looking forward to a party not far away to which she had been invited. But, to her great disappointment, she discovered that one of the tires on her bike had a "puncture" (or a "flat," as we Americans call it.) Hoping she could still make it to the party, she went to a local mechanic who promptly fixed it. She was delighted! Having already been in England for awhile, she had noticed that people sometimes called each other "mate." So she told the mechanic "Thank you so much! I am mating with you!"

She had no idea why he then laughed so hard!

By the end of the war she had met Muriel Simmons, an English lady, with whom she lived for the rest of her long life. Both became teachers at a school in Walton-on-Thames, where they bought a house. They had quite an active social life, as they were both very cultured, educated, and interesting to converse with.

Ellen was also lucky that Muriel took such good care of her as she got older, because Ellen was born with a congenital problem that got worse and worse as she aged. Her joints were very stiff, and she couldn't bend. Despite her increasing physical (never mental!) disability ,Ellen was able to get to restaurants, concerts, and other events because Muriel and their friends provided so much help.

In the meantime her English got much better, though she never lost the strong German accent. But I'm reminded of another "Ellen" story concerning a difference in language, though not German from English, but English from American.

Because of her stiff joints, she eventually had a chair which raised her up from a seated, to a standing position. Not knowing what the following expression meant in America, where we have capital punishment, she referred to it as her "electric chair!"
Sina Berlinski (1910-2011) was my first piano teacher and Herman Berlinski (1910-2001) was her husband. Although they were the descendants of Polish Jews they grew up in Leipzig, where Bach spent the last 27 years of his life, and they imbibed the spirit and music and culture of their environment. Both were serious piano students, and Sina's teachers included the noted pianist, Robert Teichmüller. Herman was also interested in conducting and being a composer.

Both left Leipzig for Paris shortly after Hi**er came to power and they married there in 1934. Both of them studied with Alfred Cortot, whom they greatly admired musically, though not politically. After World War II began, Herman served for a time in the French army. But after being discharged they decided to come to America because:

1) Though a veteran, France would not give him permission to work, and

2) The situation became more difficult for Jews.

In America they both went to work teaching many piano students to support themselves and their son. An ambitious man, Herman eventually studied organ, and became one of the organists at New York's Temple Emanuel. He also studied for, and received a doctorate when he was close to 50. He became a noted composer of Jewish liturgical music which is performed in Reform synagogues. (Some of his works can be heard on YouTube.)

We first met the Berlinskis when I was little because they lived down the hall from us on the sixth floor of the apartment building in Riverdale where we lived. When I was eight years old, by which time they had moved to another apartment in the area, I began lessons with Mrs. Berlinski. (I would NEVER dream of calling her "Sina!") She was serious, strict, and thorough but not unkind. Three years later she told me they were moving to Washington, DC, where he would assume the position of Music Director of Washington Hebrew Congregation. I cried because she was the only piano teacher I had known!

Though she lived almost another 50 years, and though there were sometimes many years in-between our seeing each other in person, she never lost interest in what I was doing. Whenever I produced a new CD, or wrote an article which I thought might interest her, I always sent it to her and received an acknowledgement and encouragement in return. And even when she was 100 years old, I always, so to speak, "sat up and paid attention" when a letter from her arrived, in the ornate, elegant handwriting I used to see in my notebook so many years before, telling me what I should practice, and that I should try harder!

The last remarkable person I want to tell you about is Dr. Gunter Lorenz (1910-2019). My father met him when both of them were well into their senior years, and members of the local Jewish Community Center Senior Men's Club, which met once a week. The presentations at meetings could range from a member telling his life's story, to another member's description of his last vacation, to a recital by me, etc. On one occasion someone was giving a talk about end of life care, during which Gunter, a retired physician with a good sense of humor who was then 101 years old, leaned over to Dad and whispered "This can easily be avoided. Just drop dead!!"
On other occasions, even when he was past 100, Gunter read a book on some subject that interested him, like the history of gold, then delivered a lecture about it to the club, and answered questions.

Gunter had the longest life span as well as the longest memory of anyone I have known. He grew up in a part of eastern Germany that is now part of Poland and in 2014, on the hundredth anniversary of the beginning of World War I, I called to ask him his memories of that time, when he was four years old. (Actually nothing dramatic happened in his life then, he said, as there was no fighting anywhere near him, though his father had to leave home to serve in the army.)

Before the war began, also as a four year old, he had travelled to Warsaw with his parents to visit relatives. There was no independent country known as Poland then, and Warsaw was a part of the country occupied by Russia. At that time he saw a beautiful Russian Orthodox church. He returned there when he was eight or ten, by which time there was an independent Poland, and he saw that the church had been torn down and replaced by training grounds for the new Polish army, as he said the Poles hated the Russians, and were mostly Catholic, not Russian Orthodox. Full of s***k and spirit he also argued with a teacher back in school in Germany who looked down on Poles and said Warsaw was very dirty. "No" said Gunter "It was very clean and beautiful!" He did this in an era when students were NOT expected to contradict their teachers!

Gunter wanted to be a doctor and, indeed, finished medical school in Germany. But by the time he graduated, Jews were not allowed to work anymore as physicians in Germany. However, he wasn't able to leave the country yet. So he went into another profession, becoming an optical engineer, and working in that capacity till he left, a few year later.

Before I go on, I cannot resist telling you one of the most astonishing things I ever heard him say. At one of the Men's Club meetings, one of the other members (most of whom, unlike Gunter and Dad, were born here) mentioned that people of their generation had sometimes been kept out of universities in this country because of quotas for Jews. Gunter said that before Hi**er came to power (after which everything "went to hell" for the Jews in Germany) the only thing that counted for acceptance in German universities was your grades, not your ethnicity. And that before Hi**er there were American Jews who came to study in Germany because quotas had excluded them from universities and medical schools in America!!!

Eventually, not long before World War II began, Gunter and his first wife were able to leave Germany and set sail for America, though they had to stay in Cuba for a year before being admitted here. While in Havana, he saw the ship the St. Louis, filled with Jewish refugees from Europe, hoping to be allowed to land here, or in any neighboring country. But as no country would accept them, including the United States, the ship returned to Europe, and many of the passengers ended up in concentration camps.

After arriving in New York, Gunter took a job as an optical engineer, and continued doing that till the war ended. Of course, what he really wanted to do was be a doctor, but he had heard discouraging things about how difficult it was for foreign doctors to obtain their licenses here. However, one day a colleague who also came from Germany told him it wasn't as difficult as he thought, and after a short period of intense study, Gunter passed the exam and got his New York State medical license.

He then established a practice in general medicine in the Bronx, which he maintained for many years, and worked long hours. Gunter looked out for the interests of his patients. Once, a patient told him he had had no relief from pain even though Gunter had prescribed a strong medication for him. This did not sound right to Gunter who, knowing the patient lived right across the street, asked him to go home and bring back the medication. Upon seeing that it was something else, cheaper and weaker than what he had prescribed, Gunter reported the pharmacist to the authorities.

Eventually Gunter moved to Westchester and took a job at a veterans' hospital, so he could be more available to help his wife, who was ill. Eventually she died, and some years later he married a much younger woman who, together with his daughter and son-in-law, took wonderful care of him in his later years.

When he was 106 or 107 Gunter and his wife were in an auto accident (no, he wasn't driving anymore!) after which he was more fragile, and not able to go out and do as much before. The last time I spoke with him, a month before he died, his voice was weaker, but he was totally with it mentally, and he tried to exhort a young(er) person (me) on saying "We always have to keep on going, and do the best we can!"

It was his 109th birthday.

That was inspiring!

Donald Isler

08/08/2025

Matthew Cameron, Pianist
35th Annual Summit Music Festival
University of Mount Saint Vincent
Bronx, New York

August 6th, 2025

All Liszt Program

Funérailles, No. 7, from Harmonies poétiques et religieuses, S, 173
Un suspiro, No. 3, from Three Concert Etudes, S. 144
Liebestraum No. 3, in A-Flat Major, S. 541
La Campanella, No. 3, from Grand Etudes of Paganini, S. 141
Harmonies du soir, No. 11, from Transcendental Etudes, S. 139
St. Francis Preaching to the Birds, No. 1, from Two Legends, S. 175

The 35th annual Summit Music Festival is under way at the University of Mount Saint Vincent in the Riverdale section of the Bronx. It features two weeks of concerts by faculty and students, master classes, and private instruction for the students, some of whom are very gifted, indeed. The Festival, founded by pianist Efrem Briskin and cellist David Krieger, is always a very stimulating event. I have heard many wonderful concerts there over the years!

The first faculty concert of the season took place Wednesday evening, and was an all-Liszt program by pianist Matthew Cameron. He is a very fine Liszt pianist, totally in sync with the idiom of the composer, and he has the virtuosic technique to play all the sometimes hair-raising complications the music poses with apparent ease.

Funérailles, with which the program began, was slow and powerful. His octaves sometimes emitted a ROAR!

Un Sospiro, by contrast, was fast and flowing.

The Liebestraum No. 3 was strong but sensitive, and the pianist showed how effectively he could handle changes of mood in the music.

Without a pause, he then launched into La Campanella, which was propulsive and brilliant.

This was followed by Harmonies du Soir, which was evocative. Here, and a few other times during the program, this listener would have been happy with a bit more soft playing. I do not mean to say there was no contrast in the sound he produced. Indeed, there WAS. But, especially in this very live hall, a bit more quiet playing would sometimes have been welcome.

The final work on the printed program, Saint Francis Preaching to the Birds, was performed in the grand manner, like an epic saga being revealed, one stage at a time. There were sometimes strong waves of sound under the theme, and we were reminded that this pianist certainly knows how to build to a climax!

Matthew Cameron played one encore, Liszt's Consolation No. 3. It was beautiful and very expressive.

Donald Isler

27/07/2025

Isler's Insights - July 26th, 2025

Don't say there's no culture here in the suburbs! I just returned from a very fine concert at the Irvington (New York) Presbyterian Church featuring the excellent young violinist, Anna Ackerman, and her father-in-law, Jonathan Ackerman, a well-known pianist and teacher in this community. The ensemble, balance, and understanding of the styles of these sonatas by Handel, Mozart, and Grieg were very fine. The playing was often spirited. but there were also many subtleties. A particular highpoint was the Romanza, which is the first part of the Grieg Sonata's second movement. It was particularly beautifully and expressively played.

Donald Isler

A Little Late Night Music Whereas I enjoy hearing new (to me) repertoire, performers and performances, often, late at ni...
13/05/2025

A Little Late Night Music

Whereas I enjoy hearing new (to me) repertoire, performers and performances, often, late at night, I turn to wonderful recordings that I have long loved. This list, which is limited to piano works ten minutes in length, or shorter, will not surprise those who know me. But perhaps you might enjoy sampling some of them if you haven't hear them before?

If I want to hear something breathtakingly gorgeous and romantic I will often listen to (my teacher) Constance Keene (1921-2005) playing a Rachmaninoff Prelude. Some years ago I listened to three or four versions of one of the Preludes. All of them were well-played, but her performance was absolutely bewitching!
Constance Keene plays Rachmaninov Prelude Op. 23 No. 6
https://youtu.be/IK2c_6OoD9s?si=QJIFR9M-l_i8b0_e

If I want to hear something deeply spiritual I may listen to (my teacher) Bruce Hungerford (1922-1977) playing the Rummel transcription of Bach's Mortify Us By Thy Grace, which has, attached, an article I wrote about him on what would have been his hundredth birthday. Bruce Hungerford plays Bach/Rummel - "Mortify us by Thy Grace" (1958)
https://youtu.be/4ZaRmsnlX1g?si=ccNISe0LGlwhKYGh

Another possibility is Hungerford's performance of the Bach/Hess transcription of Jesu, Joy of Man's Desiring, the last encore he played at what was to be his last recital. Bruce Hungerford plays Bach-Hess Jesu, Joy of Man's Desiring at his last recital.
https://youtu.be/fu0Wfefc86Q?si=RRnrq3A2ehlx3cTF

Another wonderful opportunity to hear this work is presented in a 1954 video of the great Dame Myra herself playing it.
The Great Myra Hess (1890-1965)
https://youtu.be/yaCg_nC2W5s?si=AC3V0_vySu2-jlEv

But perhaps you're in the mood for something quite the opposite, something rambunctious and bursting with over the top energy? Then I can recommend Ignaz Friedman (1882-1948) playing Anton Rubinstein's Valse Caprice. Friedman is at the crux of two of my interests, music and genealogy. I have long admired his playing, and heard about him from my teacher, Bruce Hungerford, who studied with him. But just about a dozen years ago I made the most exciting discovery of my life-long interest in genealogy, namely that Friedman was my third cousin, twice removed!
Ignaz Friedman plays Anton Rubinstein "Valse Caprice"
https://youtu.be/fvcBAP0NYKQ?si=noVn1BHz04SCbO5G

Abram Chasins (1903-1987), the husband and teacher of Constance Keene, was gifted as a pianist, teacher, writer, and composer. The last two works I'll offer here are by him. I love Ms. Keene's performance of Flirtation in a Chinese Garden. But the virtuosity, freshness, and charm that Benno Moiseitwitsch (1890-1963) brings to it in this 1927 recording are not to be beat! Benno Moiseiwitsch plays Chasins "Flirtation in a Chinese Garden"
https://youtu.be/s3CkKNHWGEE?si=f0v-7mUNbTIg0FZy

Finally, if you want to go to bed having experienced boisterous good cheer you can't do better than to listen to this live performance of Chasins' Schwanda Fantasy, played by the deeply missed pianistic magician, Shura Cherkassky (1909-1995)!
https://youtu.be/Bejc2JXjlOU?si=MaIVBcMnIujbvL77

Donald Isler

No copyright infringement is intended, if any still exists. Posted solely for the artistic exposure of Shura Cherkassky playing Abram Chasins Schwanda Fanta...

While the excellent pianist, Sandro Russo, is touring South Korea I’m looking forward to hearing him this coming evening...
03/05/2025

While the excellent pianist, Sandro Russo, is touring South Korea I’m looking forward to hearing him this coming evening (Saturday) on a radio program. He will be the featured artist on Lance G. Hill’s long-running (since 1968!) program, Music and the Artist, which can be heard worldwide at 7 PM New York time on wpel.org.

FCC Public Files for WPEL-FM can be found on the FCC website here, the Public Files for WPEL-AM can be found here, and the Public Files for WPGO AM can be found here.

12/03/2025

Below is a link to the new issue of the excellent Liner Notes Magazine. There are several features about my life, career, book and CD's, which can be found by looking at pages 153 though 168 and pages 196 through 201. (One simply sets the page number to the page where one wants to starting reading.)

Google Drive

07/08/2024

New review I just wrote for the Classical Music Guide.

Michael Davidman, Pianist
Summit Music Festival
Thornwood, New York

Monday, August 5th, 2024

Maurice Ravel: Valses Nobles et Sentimentales
Frédéric Chopin: Ballade No. 1 in G Minor, Op. 23
Florent Schmitt: "Sous la tente" from Salammbô, Op. 76
César Franck: Prélude, Choral et Fugue, FWV 21
Frédéric Chopin: Scherzo No. 2 in B-Flat Minor, Op. 31

The Summit Music Festival, founded over 30 years ago by pianist Efrem Briskin and cellist David Krieger, has begun its annual two-week session in Thornwood, New York (northern Westchester County). In addition to offering instruction in piano, strings, and chamber music it also features performances by its distinguished faculty, and by students, many of whom are very gifted.

The opening recital was given last night by the 27-year-old American pianist, Michael Davidman, who studied at the Manhattan School of Music Precollege with Mr. Briskin for ten years, after which he went on to the Curtis Institute and the Juilliard School, and other well-known teachers such as Robert McDonald, Jerome Lowenthal and Stanislav Ioudenitch.

He is one of the most exciting young pianists around. He exudes confidence but not arrogance, he understands particularly well the Romantic and Impressionist idioms of the music on this program, and he is a finished artist.

The Ravel Valses Nobles et Sentimentales were delightful! The first waltz had spirit and high energy as well as charm. The second was quiet, thoughtful, reflective. The third was light and playful, and the fourth, dreamy. Other waltzes ranged from tentative to outgoing to boisterous to slow and searching. The work concluded beautifully with a long, slow fadeout.

Mr. Davidman's playing of the Chopin Ballade was thoughtful and eloquent, with a wide range of dynamics and many interesting ideas. It was so good that it seemed he was creating the music - something new and fresh - as he went along (as opposed to giving yet another stale version of an overplayed warhorse). This is how a performance SHOULD sound!

The Schmitt work is based on Flaubert's historical novel, Salammbô, which takes place in Carthage in the Third Century BCE. It begins with a mysterious-sounding motive accompanied by fast, repeated octaves and then chords. It is largely in sections that start and stop, and the emotions vary from rambunctious to thoughtful to crying out. The harmonies seemed quasi-Impressionist while the feel of this rarely heard work was Romantic.

Mr. Davidman set sail in the Franck Prélude, Chorale and Fugue, giving an interpretation that had elegance, refinement and expressivity. He showed the music's ins and outs of intensity and was sensitive to the colors of the changing harmonies. The Chorale displayed deep thought, and he played with a DEEP tone. The Fugue flowed and soared. It was powerful, and he showed clearly the point at which the themes of the two previous movements return.

The final work on the printed program (which was played without an intermission) was the B-Flat Minor Scherzo of Chopin. It was played with drama and brilliance. The right-hand fast notes in the middle section sounded like professional caliber ice skating and there were some nice original touches, such as the unusually long pause before the main theme returned afterwards, and, lastly, the mad dash to the end.

Michael Davidman played one encore, which I didn't recognize. As it sounded like Rachmaninoff I was, indeed, pleased to learn that it was the Earl Wild transcription of a Rachmaninoff Song, "The Muse," his Op. 34, No. 1. It was calm, searching and lovely.

This was a wonderful concert!

Donald Isler

14/07/2024

New Isler's Insights Review

Martín García García - IKIF
26th International Keyboard Institute and Festival
Merkin Hall, New York

July 12th, 2024

Chopin: Polonaise-Fantaisie in A-Flat Major, Op. 61
Chopin: Impromptu No. 3 in G-Flat Major, Op. 51
Chopin: Impromptu No. 1 in A-Flat Major, 29
Chopin: Impromptu No. 2 in F-Sharp Major, Op. 36
Chopin: Fantaisie-Impromptu in C-Sharp Minor, Op. Posth. 66
Chopin: Sonata No. 1 in C minor, Op. 4
Mompou: Variations on a Theme by Chopin
Albéniz: La Vega
Albéniz: El Polo from Iberia (Book III)
Albéniz: Lavapiés from Iberia (Book III)

Martín García García is an exciting young Spanish pianist whose recital at the Festival two years ago made a sensation. By now he has played more than 80 concerts worldwide (in Europe, Asia and the United States). He has also won some big prizes, including Gold at the Cleveland International Piano Competition, and Third Prize and Special Award for the Best Concerto Performance at the 2021 International Chopin Piano Competition in Warsaw.

As he began the Chopin Polonaise-Fantaisie I had a feeling I get once in awhile at concerts, ie if his playing is this good, and this interesting, I'll probably like the way he does everything else! And that was largely true. After the strong opening chords, he took time to play the following quasi-recitativo notes slowly, not pro forma. There was gentleness, and sensitivity to harmonic changes. He also took time to play the B Major section with intention, but produced a big sound where desired, like at the brilliant conclusion. Indeed, he played like a thinking man's virtuoso.

After this work, he explained to the audience that a damper (for a low F, I believe) wasn't working properly, ie it wasn't stopping the sound of the note when he let go of the key. Several people came up onto the stage to discuss the situation, including Jerome Rose, who did something to it so that the piano functioned better. (During the intermission a technician took the whole action out and worked on it, which partly explains why the concert went on quite late!)

Mr. García García next played the Chopin Impromptus in the following order: 3, 1, 2, and then 4 (the Fantaisie-Impromptu).

For this listener the tempo of the main theme of the Third Impromptu was a bit too fast to enjoy the richness of the tonality of G-Flat Major, and the harmonic writing in the right hand. But the slower middle section in E-Flat Minor was really beautiful.

The First Impromptu scampered along merrily, though the F Minor middle section was slower, and thoughtful.

The Second Impromptu was quite slow and expressive. Mr. García García really knows how to sculpt a melody! And the coda rushed along with fast "sprays" of notes.

The Fantaisie-Impromptu was quick and swirling, until the lovely slow section in D-Flat Major.

At the conclusion of this work the audience applauded with great enthusiasm.

The first half of the program concluded with the First Piano Sonata of Chopin, the sonata that "no one" plays. Well, almost no one, though I believe I heard Shura Cherkassky play it once, and Robert Goldsand recorded it many years ago. It’s not generally thought to be on the level of the Second and Third Sonatas but is quirky, "different" and worth hearing. Mr. García García launched into it with plenty of energy and played powerfully, but also brought out the witty aspects. The second movement was charming, and the trio section in E Minor was reflective, but for the loud part near the end. The third movement, in A-Flat Major, is unusual, as it's in 5/4 time. It has a nocturne-like feeling, and a lovely, florid, sometimes ornamented melody. The finale is fiery from the start with fiendishly difficult passagework, some of which reminds one of ideas Chopin used in his concerti. Mr. García García played with great articulation and produced a huge sound.

The Mompou work was originally written as a cello and piano piece for the composer to play with cellist Gaspar Cassadó. After going through several incarnations it was completed in 1957 as this theme with 12 variations. It charms in many ways! The first variation adds a richer harmony to the original theme (which is the Chopin Prelude in A Major, Op. 28, No. 7). The second variation is flirtatious, followed by the third, which is a mazurka. The eighth variation has a sweet and very expressive melody. The ninth turns the theme into a waltz. The twelfth variation is hectic and intense, whereas the epilogue is a reprise of the original theme in a dreamy haze, with moments of subtlety and beauty.

The Albéniz pieces were all brilliantly played, with great panache and virtuosity. La Vega had an intense melody and swirling notes that seemed to "ride a wave," complicated figurations, and a soft ending. El Polo was both extravagant and playful, witty and intense, ending with a huge sound. Lavapiés was explosive, with sparks and accents flying.

As many of us, unfortunately, don't know this music well, and as the program did not describe the offerings as clearly as is shown above, and as La Vega is rather long, some thought that on its conclusion, Mr. García García had completed the entire group. And wondered why he immediately sat down and played two more pieces (!). This was later made clear.

But at that point in time I wished I could consult with the late, lamented Joe Patrych, friend of almost every pianist in New York, on whose encyclopedic knowledge of piano repertoire Gary Graffman once commented "He knows everything!" So it was a lovely surprise when Mr. García García dedicated his one encore, the Liszt transcription of the Schumann song "Widmung" (which means "dedication") to Joe. And played it beautifully!

Donald Isler

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