Students from the Josef Haydn Conservatory

The internet is our friend! Here’s what I found from a bit of sleuthing (the program was listed, alas, there were no program notes).

http://tinyurl.com/7mn63xv (Well, maybe not – paste link into your url bar? Yes! that does work. Who's the man?!?)

I’m going out on a limb here and guessing that most of the composers are alive and that the dates given are their b. dates. The program included (not listing everything):

Rodion Shchedrin (1932) – “Questions” Nr. 1-3
György Kurtág (1926) – “Splitter” Op. 6/2 Nr. 2
Sergej Slonimsky (1932) – “Glocken”
– Paul-Boris Kertsman (pianist)

Arnold Schönberg (1874–1951) – Drei Klavierstücke Op. 11
– Yunus Hermann (pianist)

Alberto Evaristo Ginastera (1916–1983) – “Danzas Argentinas”
-Danza del viejo boyero
-Danza de la moza donosa
-Danza del gaucho matrero
– Julian Yo Hedenborg (pianist)

Shchedrin – “Im Stile von Albéniz”
– Chang Chih-Hung (pianist) (three movements)

George Crumb (1929) – “Litany of the Galactic Bells,” “Dream Images (Love-Death Music),” “Tora! Tora! Tora! (Cadenza Apocalittica)”
– Matias Alzola (pianist)

The pianists ranged in age (my best guess) from 15 to mid-20s. Technique was very good throughout, though I found some “body language” a bit disconcerting. I understand intensity, but your nose down on the keyboard does not create intensity.

I particularly enjoyed the works that had the most recognizable forms and openness. Call me shallow {shrug}. The Slonimsky “Glocken” really rang out “bells” with clanging chords, tinkling riffs, and even the bare left hand on the bare strings of the open-topped piano. The Ginastera Danzas were just that—obvious dances, with rhythmic grace, slow gently swirling feelings (to these ears), and a real presto with shifting rhythms.

Also dance-like were the Shchedrin pieces in the style of Albéniz—Spanish flair, and recognizable forms (almost tribute-like), with interesting ideas and an extended march-style segment to close it out.

The “Galactic Bells” proved bell-like again, including Crumb’s use of open strumming of the strings inside the harp of the piano, Liszt/Chopin quotes (in the Love-Death music), and an appropriately raucous apocalyptic finish to the concert.

Austrian Cultural Forum New York, I salute you!

ConcertMeister