Today's concert was a piano recital via the NYPL—pianist Daniel Beliavsky. I'd heard him before, and when I saw his name on the schedule, I knew I wanted to attend. The composers were compelling: Chopin (1810-1849); Shostakovich (1906-1975); Scriabin (1872-1915); and Rachmaninoff (1873-1943. A broad range.
The Chopin was practically a "Greatest Hits" set. Two introspective Mazurkas followed by fireworks—Fantasy-Impromptu, Op. 66 (think "I'm Always Chasing Rainbows") and a Ballade (Op. 23, No. 1). Then a Nocturne (vaguely familiar) and the Polonaise, Op. 53, "Heroic". You'd know it.
The second half was bookended with two Shostakovich Preludes and Fugues, Op. 87—No. 1, C Major; No. 24, d minor. The first was relatively straightforward, the last dark and insistent.
The Scriabin was two Etudes—one with a dense chordal structure; one bolder, almost effusively Chopin-esque.
The Rachmaninoff was two Preludes—one very familiar to me, with heavy block chords; one very march-like, with a nice lyrical middle section, returning to the military finale.
Mr. Beliavsky made a point of discussing Shostakovich's political riskiness (fear of being "disappeared")—these preludes and fugues, an homage to the Well-Tempered Clavier, were written between Nov. 1950 and Feb. 1951, a particularly worrisome time for Shostakovich. Fortunately for all of us, he was not "disappeared".
And fortunately for all of us, Mr. Beliavsky will continue concertizing.
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