On Saturday, I attended a Bargemusic concert of solo piano music played by
Olga Vinokur. As always, the program was announced from the stage. Ms. Vinokur is rather soft spoken, so I may have missed, or misheard, some of the works. She began with a Sonata in D Major, by Domenico Scarlatti, which was followed by three pieces by Frédéric Chopin—a Nocturne, an Impromptu, and a Mazurka. Or was it a Fantaisie? I’m just not sure. Next up were movements #3 and #4 from Sergei Rachmaninoff’s Moments Musicaux and his Etude in g minor. Rounding out the program were Earl Wild’s transcriptions of Gershwin’s The Man I Love and I Got Rhythm.
I have heard Ms. Vinokur on several occasions and it is always a pleasure to hear her perform. The Scarlatti sonata was bright and charming, with clean lines and clean, crisp playing. Chopin’s Nocturne, while gentle, still had some build to it in terms of both volume and intensity. The Impromptu featured flying fingers, but with a controlled energy. There was a contrasting section, as well, that still featured very busy fingerwork. The Mazurka (Fantaisie?) had a bit of a martial feel to it. With all of the filigree musical lines, it was definitely Chopin, and it was more extensive than the first two of his pieces.
Rachmaninoff’s Moments Musicaux had thicker, denser chords with a darker mood for the opening, followed by a marching bass line. There was a feeling of expansive expression that made me think of angst, or maybe ardor? There were darkly pretty musical lines and ideas conveyed through the musical lines. Moment #4 was energized but still with an undertone of bleakness, almost. Maybe a sense of loss? This was a very moving composition and performance. The Etude continued in a dark manner but it made me think more of a sense of longing.
The Earl Wild transcriptions of Gershwin were, if I’m remembering correctly, improvisations that he was well known for—dazzling, in the style of Liszt—that he would play as entertainments. Once again, if I’m remembering correctly, he was urged to write them down, and he eventually did. It’s not quite jazz, though it certainly has jazz elements. It’s not really parody, since it’s an intriguing, classical-flavored metamorphosis of the familiar Gershwin tunes. It’s fun music, and it capped off a great afternoon of piano performance at Bargemusic once again.
This might have been my first August concert at the Barge, as I’m usually too tuckered out after volunteering for Summer Streets*. I did volunteer for full shifts the first two Saturdays this year, but only for the morning shift on the 17th. The concert attendance was higher than others I’ve been to at tha Barge. It’s a great freebie in NYC—one that I’m glad to attend whenever I can.
ConcertMeister
*Just ask.
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