Lynn Wheeler and Elena Casanova on the Paulin Hall stage Nov. 8

CASANOVA SPARKLES IN ANGWIN LATIN MUSIC RECITAL

Presenting an entire program of classical Latin music might seem a risky venture, but pianist Elena Casanova is known for performing in multiple musical genres, and perhaps taking a chance or two along the way. Her Nov. 8 recital In Angwin’s Paulin Hall proved to be markedly unconventional. Produced by Pacific Union College’s Music Department in collaboration with Concerts Grand, the event drew an enthusiastic crowd of 125, a mix of PUC students and faculty, north Napa Valley music fans and a sizable contingent from Ukiah, Ms. Casanova’s home town. As a PUC alumna, the artist was indeed the prodigal returning home.

Beginning with Lecuona and Gottschalk’s "Souvenir de Puerto Rico," Ms. Casanova caught the sparkling rhythms inherent in this characteristic Latin music, the charm of her native Cuba in the forefront. Yalil Guerra’s more recent "Seducción" (1994) was both languorously attractive and, in the middle section, provocative. Maria Matilde Alea’s "Miniaturas Ritmicas Cubanas No. 2," a children’s piece composed by Ms. Casanova’s teacher in Cuba, was warmly received.

In her 2008 Ukiah recital, Ms. Casanova ended with Ginastera’s "Danzas Argentinas," Op. 2, and here she closed the first half with this popular work from 1937. Playing from score, as she did during most of the recital, the pianist provided plenty of polytonal interest in the opening "Danza del Viejo boyero" and the "Danza de la moza donosa’s" undulating meter was played in a warmly beguiling manner. Notwithstanding a pesky memory lapse in the finale, the pianist’s energetic and full-throttle approach carried the "Danza del Gaucho matrero" to a wild finish, an upward glissando capping left-hand dissonances and colorful flourishes.

Three composers unknown to this reviewer were featured to begin the second half: Jose L. Fernando de Coca, Enrique Guerro and Manuel Samuell. Ms. Casanova’s playing of these neglected Cuban composers was exemplary, the Samuell piece ("El Pañuelo de Pepa, recuerdos de Gottschalk") being the most intriguing and bringing back the Creole flavor of Gottschalk’s Caribbean pieces.

Three popular composers concluded the concert, the first two (Piazzola and René Touzet) specialists in tangos and pachangas, native to Argentina and Cuba. Both were played with effervescent colors, particularly Touzet’s "Dancita No. 3."

College faculty pianist and Department Chair Lynn Wheeler joined Ms. Casanova to close the program with the two-piano version of Gershwin’s “Rhapsody in Blue.” The opening trill and ascending scale, originally for a dapper clarinet, was played "primo" by Ms. Casanova, enticingly setting the 16-minute work alight. Prof. Wheeler, one of Ms. Casanova’s esteemed teachers, was every bit as effective in his sharp melodic interchanges. It was a performance that leaned more to the jazz idiom than the classical influence, the solo sections richly rhythmic and at times orchestral in scope. The pianists were not always together during the ensemble parts, but no matter, as the score from 1924 was effectively realized, piquant and quite boisterous.

Remaining on stage when an encore was demanded, Prof. Wheeler displayed glowing arpeggios that met Ms. Casanova’s liquid legato in a Greg Anderson and Elizabeth Roe two-piano transcription of Saint-Saens’ “The Swan.” A more relaxed work and deft performance after the unrestrained Gershwin could not be imagined.

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