Chamber
UNIQUE TRIO FOR THE ROMANTIC ERA IN SONG
by Pamela Hicks Gailey
Saturday, November 16, 2024
Chamber
JASPER'S LUSH PERFORMANCES OF STILL, DVORAK AND FUNG QUARTETS
by Abby Wasserman
Sunday, November 10, 2024
Symphony
A SHOUT AND SONIC WARHORSES AT NOVEMBER'S SRS CONCERT
by Peter Lert
Saturday, November 9, 2024
Choral and Vocal
ECLECTIC WORKS IN CANTIAMO SONOMA'S SEASON OPENING CONCERT
by Pamela Hicks Gailey
Sunday, October 27, 2024
Symphony
FRANKENSTEIN THRILLS IN UNIQUE SO CO PHIL CONCERT IN JACKSON THEATER
by Peter Lert
Saturday, October 26, 2024
Choral and Vocal
BAROQUE EXTRAVAGANZA AT AMERICAN BACH MARIN CONCERT
by Abby Wasserman
Friday, October 25, 2024
Recital
LARGE AUDIENCE HEARS AX IN WEILL PIANO RECITAL
by Terry McNeill
Thursday, October 24, 2024
Symphony
SRS' NEW SEASON OPENS WITH BEETHOVEN AND COPLAND IN WEILL
by Terry McNeill
Saturday, October 19, 2024
Chamber
TWO CHAMBER MUSIC WORKS AT MARIN'S MT. TAM CHURCH
by Abby Wasserman
Sunday, October 13, 2024
CALLISTO'S ELEGANCE IN UPBEAT 222 GALLERY CONCERT
by Terry McNeill
Friday, October 11, 2024
|
|
Leopold Godowsky |
ITURRIOZ MAKES EMOTIONAL RETURN
by Kenn Gartner
Sunday, April 26, 2009
Antonio Iturrioz made an emotional return April 26 to the Newman Auditorium stage at SRJC, the same spot he was supposed to occupy nearly two years ago when an accident just one hour before curtain prevented his appearance. This time Iturrioz not only arrived in robust health but presented a program of rarely heard works, communicating to 135 people his devotion for the neglected composer Leopold Godowsky, and exhibiting elegant if occasionally unsatisfying pianism.
Godowsky’s Alt Wien (Old Vienna) began the program, and Iturrioz played it mit schwung — polished, sophisticated, and in a true Viennese waltz style, making sure we heard the rests. He proceeded to give the crowd a complete set of verbal program notes, pointing out that those in favor of neoclassicism after 1900 ignored the music of Godowsky (1870-1938), a composer to whom he has devoted years of study. That people ignored Godowsky is certainly true, probably because his compositions are exceedingly complex. They are contrapuntal to an extent achieved only by Bach in his Musical Offering, which features a fugue for six voices. The counterpoint is so dense that one only perceives chords. The same is true for Godowsky. As one audience member put it: “It all sounds the same,” and there was a rhythmic monotony to several transcriptions from the Bach violin and cello suites.
Iturrioz is a master of the left hand and has produced several DVDs illustrating left-hand works and technique. Not surprisingly, his performance of Alexander Scriabin’s Nocturne in D flat, Opus 9, No. 2, was all about the left hand. The distinction between the Nocturne’s melodic lines and the accompaniment figuration was sparse, and the melodies were often attached legato to background figuration. The tempos were the slowest the reviewer has heard in live performance, yet the trills were marvelous. Godowsky’s reworking for the left hand of Chopin’s sensuous Etude in E Flat, Op. 10, No. 6, was played with a delicate touch and tonal richness. Iturrioz gave the same beauty to Godowsky’s versions of Schubert’s Litany and Henry Bishop’s Home Sweet Home. Both featured pianistic tenderness and suave detail.
After intermission, Iturrioz played Sonoma County composer Charles Sepos’s Tango Blue, a work whose cluster style seemed alien to the rest of the program. The work comes from a collection of 100 three-minute tangos composed by 100 composers as diverse as John Cage and Otto Leuning and collated into The Tango Project in 1985. The Iturrioz performance was good to hear. The only other tango from the Project that has had repeated performances is Steven Rosenhaus’s The Kiss.
Two major Liszt works, the second Legend and the Reminiscences from Norma, ended each half and were in most ways disappointing. As in the Scriabin, Iturrioz adopted glacial tempos, gaining clarity and differentiation of voices at the expense of momentum, bravura and the long line. He also took many short pauses, presumably to set his hands before short virtuosic passages, which adversely affected the histrionic impact of the massive works, particularly the Legend. A pianist can get away with a lot of orchestral playing and long damper-pedal phrases in Liszt, but Iturrioz chose to slow everything down, resulting in underwhelming readings.
There was one encore, a lovely reading of Noche Azul by Ernesto Lecuona. Here the fluent rhythms and perfect legato were in harmony, the affect amorous.
Musicologist Jim Burns and Concerts Grand producer Terry McNeill contributed to this review.
|