Nadejda Vlaeva plays piano music by Vladimir Drozdoff and Sergei Bortkiewicz, with Schubert and Liszt at Zankel Hall
A plentiful audience at Zankel Hall last week enjoyed Nadejda Vlaeva’s program of attractive salon pieces by two forgotten Russian éxiles, Vladimir Drozdoff (Saratov 1882 -New York 1960) and Sergei Bortkiewicz (Kharkiv 1877-Vienna 1952), and a colorful Hungarian Rhapsody by Franz Liszt (a rarely played one)—all introduced by one of Schubert’s most profound sonatas, the G Major, D. 894, sometimes known as the “Fantasie,” a name given it by its first publisher because of its meditative first movement. There could be no doubt that the curtain-raiser was the most significant work on the program, but the centerpiece was nonetheless the selection of shortish rarities by the two Russians. Their music has much in common. Both are rooted in the nineteenth century, with little or nothing traceable to the musical trends that emerged after 1910, or later. Although they were younger than Rachmaninoff, who was plagued by his own conservatism, their music is even more retardataire. This is not in itself a fault, although one can understand why their music failed to reach a wider audience in the age of Stravinsky, Prokofiev, and Shostakovich. Both Drozdoff and Bortkiewicz were undoubtedly fine craftsmen and showed a deep understanding of the piano in the great Russian tradition.
This CD has already become a favored and frequented member of my collection. Chandos has a long and successful history of recording the BBC Philharmonic, but this is the first recording I’ve encountered from their new venue in MediaCity, Salford. I’m happy to report that the transparency, fine balances and smooth listenability of the old Studio 3 are alive and well in the new facility. And the performances, under recently appointed Music Director Juanjo Mena, are as idiomatic and atmospheric as one could hope for.
The Life Ecstatic: Judith Schaechter at Claire Oliver Gallery, 513 West 26th Street. New York, Sept 9 – October 22.
All artists strive to depict the human condition; Judith Schaechter does this in a series of extraordinary narratives in stained glass that address life, consciousness, and the unending richness of created form. A recipient of several National Endowment for the Arts awards as well as a Guggenheim Fellowship, Schaechter teaches in the Craft and Material Studies department at the University of the Arts, Philadelphia. Her recent show at Claire Oliver Gallery focuses on flight and space, actual or imagined in new and brilliant ways. Birds rule throughout! Schaechter admits that she has recently become a bird watcher although she always enjoyed animals, even as a teenager. She confides that a bird’s shape is appealing—a living form but without the complex appendages of arms and legs (hard to draw).
The phrase “less is more,” attributed to many sources, is very appropriate for Thorns of the Crown. The dance is vaguely about royal power—wanting it, getting it, losing it. This is a strong theme but the piece is a potpourri of steps, sounds, ideas, music and musical styles and would be stronger had it focused on fewer. Sounds include clashing swords and whinnying horses with snatches of spoken Shakespeare including Macbeth and Hamlet, with “To Be or Not to Be” voiced by Kenneth Branagh. Music runs the gamut from quasi- (or perhaps genuine) ecclesiastical to medieval selections to pipes and flutes to a blend of original compositions by composers Thomas Lentakis and Bruno Axel with too-abrupt shifts that are jolting.
Macbeth An original ballet by Francis Patrelle adapted from the play by William Shakespeare Kaye Playhouse September 15, 2016 A balletic retelling, Dances Patrelle sets Shakespeare’s Macbeth to a recorded, patchwork score by Tchaikovsky. In the early scenes, performances…
Many choreographers go out of their way to avoid the music of Mozart fearing their work won’t (or can’t) approach the same level of artistry. Happily, Mark Morris is not among them. His Mozart Dances, originally commissioned by Lincoln Center for the Performing Arts, the New Crowned Hope Festival in Vienna and London’s Barbican Centre ten years ago, has dancers swirling and bouncing through a piano sonata and two piano concertos, almost all with the inspired touch of two masters.
BRAHMS Piano Concerto No. 1. 4 Ballades • Paul Lewis (piano), Daniel Harding, conductor; Swedish Radio Symphony Orchestra • HARMONIA MUNDI HMC902191 (70:09) Call me a fool for love, but I’ve been listening raptly to this CD for days without…
A most welcome contribution from Ralph P. Locke, Professor Emeritus of at the Eastman School of Music, an unpublished letter to the editor of the New York Times, directed my attention to a review and an article by Zachary Woolfe concerning recent productions he has seen in France of Mozart’s Die Entführung aus dem Serail and Così fan tutte. The content of these articles will be clear enough from Professor Locke’s letter and his own commentary.