Title: Miscellanea: Beethoven in the New York Times (January-July 2013)
Abstract: Critics, Performers, PerformancesTimes critic Vivien Schweitzer was put out solo recital by the very gifted pianist Peter Serkin, on Saturday, March 30, at the High School of Fashion Industries. Peter is the son of the legendary pianist Rudolf Serkin 1903-91, grandson of famous violinist Adolf Busch. As he noted in an interview music critic Richard Scheinin of the San Jose Mercury News in November 2012:1 feel the presence of my father, and also.-and maybe particularly my grandfather, though didn't know him that well. But it is still something that entered my system. When Scheinin asked if there was an essence he acquired from them, Peter replied, I think there's certain honesty of approach in both of them, respect to the composer the composition, curiosity about each composition being its own world that makes it singular, that makes each individual piece live. My father was quite scholar, too. When he studied piece of music he took out the old autographs, the first editions, any comments the composers might have made in letters. (In Rare Interview, Pianist Peter Serkin Talks about His Life, Family, Art, San Jose Mercury News, November 26,2013, http:// www.mercurynews.eom/ci_22044640/rare-interview-pianist-peter-serkintalks-about-his)Indeed, Peter adopted his father's scholarly approach to score study has extended it by performing recording music on the fortepianos of Beethoven's day so that he understands the sonatas also from the perspective of the instruments for which they were imagined. His excellent CD set of the last six sonatas on Graf fortepiano is available online for only $16. Such preparation research has contributed, as Schweitzer noted in her review, to a reputation as an intellectual performer, musician who values Apollonian precision over Dionysian abandon.On the occasion of his recital on March 30, Schweitzer found his performances of the two sets of late bagatelles rewarding with admirable control rich but trashed his readings of the late Sonata in A-flat Major, Opus 110, Adieux:The cantabile lines of the opening section [of Opus 110] unfolded eloquently, but over it all proved dispassionate reading that lacked vital warmth momentum. It was hard to discern the rationale behind some of Mr. Serkin's interpretive decisions. He also made unusual choices in his unconvincing rendition of the Adieux Sonata ... The openingsounded in Mr. Serkin's performance, rhythmic distortions blemishing the first movement, flaw that also occurred in Opus 110. He deftly illuminated the harmonic of Les Adieux, but in general the playing seemed chilly overly eccentric. (New York Times, April 2, C5).It's bit difficult to know what to make of Schweitzer's tart review, since her opinions not infrequendy contradict themselves within the same sentences. The deft illumination of harmonic details in work directly communicates to the expression of emotion, since large portion of our interpretation of meaning comes through harmonic progressions, both their quality speed. Simply put, if the illumination is deft, emotions are expressed. Similarly, playing cannot be both rather methodical rhythmically distorted at the same time. And hate to mention it, but rhythmic distortions eccentric playing sound like qualities of the accounts of Beethoven's own playing, who was not praised for the clarity of his performances.Those who follow Schweitzer's reviews know, in fact, that she not infrequendy condemns programs containing Beethoven's music as conventional. In her review of Mostly Mozart concert on August 9, she wrote, Some programs remain dedicated to conventional programming. A concert on Friday at Avery Fisher Hall featured Louis Langree conducting the Mostly Mozart Orchestra in war horses by Mozart by Beethoven, whose music is being highlighted along Mozart's this summer. …
Publication Year: 2013
Publication Date: 2013-07-01
Language: en
Type: article
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