Alfredo Corral performs in London: 5 and 8 October 2007 |
5 October
Brahms' Piano Pieces, Op 118, presented a satisfying if unusual opener to Alfredo Corral's ILAMS lunchtime concert at Regent Hall on Friday 5 October. So often one hears individual pieces from the set, which is a pity as the 6 pieces (4 intermezzi, a ballade and a romance) are carefully connected by keys to form an organic whole. Alfredo's empathy for Brahms was immediate and striking, as he played careful attention to the composer's phrasing without any loss of warmth or immediacy. The melodies ebbed and flowed and the dynamics of the pieces were acutely observed, in what was without doubt a commanding performance.
A Mediterranean breeze wafted into the hall with the sounds of distant guitars and gypsy music in El Albaicin, from Albén;iz' Iberia (Book 3). This piece, with its flamenco evocations conjures a colourful picture of Granada's gypsy quarter. Alfredo's tempos were always well balanced, never too hurried but without any loss of momentum, and always responding to the rhythmic demands of the music. The caprice of the music was caught to perfection in this masterly rendition.
A European premiere followed, as Alfredo introduced Pasaje Seaver, a tango by the contemporary Argentine composer Juan María Solare. He first spoke briefly, explaining the interesting genesis of the work as an electro-acoustic composition: the piece refers to a gallery full of tango history that is about to disappear. Tentative chords create an air of mystery, which lead to the slow tango that pervades the work. An air of moodiness is maintained throughout the piece, as the music seems to look back on past glories reflectively. It is always hard to judge a new piece for the first time, but given the persuasive advocacy of Alfredo this seemed a work of considerable interest and merit.
The recital ended with music by the towering Argentine composer, Alberto Ginastera. Alfredo Corral knows how to generate excitement without aggression, and this is what we heard in the wonderful Trez Piezas, Op 6: Cuyana, Norteña and Criolla . Written in 1939/40 they bristle with individuality, and show the composer revelling in an exultant spirit of nationalism, caught to near perfection by Alfredo. The audience responded with great enthusiasm. How could Alfredo leave us without an encore? He treated us to music by the master of tango, Piazzolla, with his Muerte del angel, and the simple charm of October, (appropriately selected) from Tchaikovsky's delightful suite The Seasons, ended this memorable recital.
8 October
Alfredo Corral's second lunchtime concert was hosted jointly by The Beethoven Piano Society of Europe and ILAMS. Appropriately he started with Beethoven and performed his Sonata in E flat, Op 7. The elegant opening gave way to passages of greater intensity, full of incident and drama, which were played with utter mastery. The minimal use of pedal, the superb legato lines and effortless dynamic control made his performance utterly riveting. Alfredo demonstrated a strong affinity for this remarkable sonata (Beethoven's 4th), which despite its early opus number shows the composer as an audacious master of form. Alfredo's conception of the piece is that it can be seen as a symphony in the mould of the Eroica, and as a typically Beethovenian battle between man and God. This truly memorable performance drew appreciative applause.
Albéniz' Iberia, once more provided the intermezzo in the recital, this time from Book 2, Almería, a seaport in south eastern Spain. It was given a performance that captured its lanquid atmosphere, alternating with sharply drawn rhythms.
As in the first recital, Alfredo Corral ended with music from that giant of 20th Century art, Alberto Ginastera. The 12 Preludios americanos, Op 12 of 1944 represent to some, the apogee of the composer's early piano music (written 8 years before the monumental first sonata). The musically pungent pieces are sketches which contain a kaleidoscopic variety of rhythmic and melodic ideas, all concentrated into brief time spans. They require focus and precision to achieve optimum musical impact, and this is exactly what Alfredo delivered. You could hear everything and none of the rhythmic snap was lost. He played the first 6 pieces which comprise Book 1, and as he ended with Homenaje a Roberto Garcia Morilla, you could almost hear a pin drop before the audience erupted into applause.
He ended on two favourite recital pieces of Ginastera: contrasting Milonga (a transcription from the popular ballet Estancia), with its engaging melody and the motoric rhythms of Malambo, Op 7. Alfredo drew an extraordinary cascade of sounds from the latter, with the rhythmic phrases piling on top of each other, crowned by resounding chords. Bravo!
Once more the audience wanted more and generously received an encore with the second London performance of Pasaje Seaver, by Juan María Solare. For me this made all the difference: the second time around one could appreciate the intricacy of the writing in what was a most satisfying performance.
Ray Picot
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Valentina Díaz Frénot plays at St. James's, Piccadilly |
The distinguished Argentine pianist, Valentina Díaz-Frénot, presented a fascinating collection of music by composers from Paraguay, Argentina and Spain, to an appreciative audience at St. James's, Piccadilly on Friday 18 January 2008. Despite her considerable reputation as an international concert artist, she seldom plays in the UK, so this visit was all the more welcome. She lives in Paraguay with her family, and has done much to champion the little known music of her adopted country, which she has recorded, whilst also supporting young artists. This concert gave us the opportunity to hear the fruits of her work.
From the very first notes, it was apparent that Ms Díaz-Frénot has a commanding technique but with close attention to subtle nuance which was so telling in the delightful Juguete (Story) and Two Dances which opened the programme. Written by the first Paraguayan composer, Juan Carlos Moreno González, the music boasts an attractive melodic style which incorporates folkloric elements, drawn from Guarany song, and popular dance rhythms.
Performed with great panache, Nancy Luzko's lively Sonatina, provided a sharp contrast with its more modern idiom and succinct structure. The piano writing is percussive in style, redolent of Ginastera, but not derivative.
Like Moreno González, Jorge Martínez was a well established Paraguayan composer, and his Children's Games is one of his better known pieces. This lovely work is firmly embedded in the romantic era, and explores the fascinating 'polka paraguaya', which was so popular in the 19th century. Ms Díaz-Frénot is equally at home with this music which she played with just the right degree of romantic dash.
Across the border to Argentina, we next heard the music of Pedro Sáenz, who's works have featured in previous ILAMS concerts. The quirky suite of dances, That Buenos Aires, is a well written piece in a neo classical vein, comprising a Milonga (the tango's precursor), Vals Criollo and the ubiquitous Tango to conclude, all served up with great wit and aplomb.
One of Valentina Díaz-Frénot's notable achievements is her recording of all four books of Isaac Albéniz' masterpiece, Iberia (directly evidenced after the concert by the demand for the CD set). Selecting El Albaicín and Eritaña, she contrasted most effectively two pieces respectively inspired by the gypsy culture, and flamenco in the respective cities of Granada and Seville. Ms Díaz-Frénot showed great empathy with these complex pieces require a considerable flair for detail and a strong technique to be entirely successful. To quote a colleague, she conjured gorgeous fluid and diaphanous sounds, and no less in the concluding work, Navarra, a posthumous supplement to the suite. Thought by the composer to be inferior and unworthy of inclusion, it was played in the version completed by de Severac, enabling us with a historical perspective to appreciate its finer qualities.
To round off this wonderful lunchtime recital, we heard a Scarlatti Sonata, as an encore. It was given a scintillating and memorable reading,that drew very warm and appreciative applause.
Ray Picot |
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Oscar Edelstein: Rivers & Mirrors, Part 1. First London performance |
Bolivar Hall, 3 May 2007.
To those unfamiliar with the Argentine composer, Oscar Edelstein (b. 1953), he is a foremost member of his country's avant-garde and a leading cultural figure. His last ensemble, ENS, was seen by many as being an unconventional 21st Century equivalent of Piazzolla's Quintet. He has written in all the important genres, including electronics, and has achieved critical acclaim since the 1980's. Edelstein's recent operatic production has been hailed as innovatory. His good theatrical sense was put to good effect in this new piece of contemporary dance theatre. Also, on the strength of tonight's performance, the composer also possesses a formidable pianistic technique.
Rivers & Mountains is essentially a theatrical experience, with sound and images created live and recorded as a response to the images and ideas behind the poem, El Rio by Juan L Ortiz. This was translated and inspired the poem, The River, by Robert Minnhinick. The film was made possible through a grant from the Arts Council of Wales.
The pianist is on stage throughout the performance, initially alone, accompanied by a film involving the dancer, Sandra Grinberg. Pre-recorded sounds are superimposed with live vocals from Deborah Claire Procter, who is first seated in the auditorium and then joins the pianist on stage. The interaction of live and recorded performance is very effectively achieved, and the timing impeccable.
Lasting about 45 minutes, the work is carefully structured, and uses sound effects from the strings of the piano in additional to the usual ones obtained from the keys, often to dramatic effect. The piano soundscape is quasi-orchestral and quite striking, and includes an element of improvisation. The wordless vocals are brought in gradually, and become inseparable from the images. The two collaborating artists both wear red dresses, thus merging in their identities. Walking, moving and using dance movement, Sandra Grinberg is a constant and effective focus. Deborah Claire Procter, uses her broad artistic experience to bring a dynamic response to both piano sounds and the images.
There is an intensity to the work that rarely loses its edge and the mirror, which accompanies Sandra Grinberg in quite specific settings, is an effective device that creatively flowers in the second section. This is an artificial device, and for most of the time works well. It is moved from grey industrial formality to a more decorative formality within a building who's past architectural splendours are only glimpsed through the mirror.
There are three performances of this work in the UK and hopefully they will stimulate wider interest in the work of Oscar Edelstein. Reactions from the audience were positive, which must auger well. To find out more about this piece, log onto the dedicated website, www.riversandmirrors.com
Ray Picot
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