Bargemusic (7/19/14)

I hesitate to call Bargemusic an “old standby” but its Saturday Music in Motion concerts are events that I know I can count on. Saturday’s turned out to be a real winner—
Sophia Agranovich, piano, playing works by Schubert and Chopin.

Fantasie in C Major, Op. 15, D. 760, “Wanderer” – Allegro con fuoco ma non troppo; Adagio; Presto; Allegro – Schubert (1797–1828)
Ballade No. 1 in G minor, Op. 23; Ballade No. 2 in F Major, Op. 38; Ballade No. 3 in
A-flat Major, Op. 47; Ballade No. 4 in F minor, Op. 52 – Chopin (1810–1849)

This was a very ambitious program very well played. The Schubert opened in a dramatic manner and was martial at times, particularly via rhythmic motifs. The phrasing seemed a little on the dry side to me at the very beginning (not enough flow) but that quickly changed. I especially liked the flow between movements, making for a cohesive, almost through-composed performance. (I later learned that that is actually part of the composition itself.) There was a nice mix of both powerful and delicate playing in this altogether pleasant rendition of this Romantic-era piece.

Chopin’s Ballades are classical masterpieces; hearing all four at one sitting was extremely interesting. I won’t presume to do in-depth analysis, though I’m sure there is plenty of that out there. I’m most familiar with the first and I have a fleeting memory of hearing all of them (or at least parts of each) before.

The first opened with a melancholy, but not cloying, introduction. While I thought some of the phrasing was just a bit mannered, it was certainly a valid interpretation. Slower, flowing phrases were quite beautiful—close to haunting—leading to fireworks at the end.

The second was gently rocking, to start, sounding slightly wistful. This was followed by a rushing section before returning to rocking. This pattern repeated, alternating, ending with a quiet solemnity. The second Ballade paled slightly in comparison to the first but it was nevertheless quite strong on its own.

Number three had a folk-song feel to some of the melodies, in my opinion. This piece also alternated between bombast and gentleness, and included fleet finger work. The fourth had a brief introduction that did not seem familiar to me though I certainly recognized the main theme which was gentle, and could seem melancholy, but I sensed a bit more hope. The main theme returned, with filigree writing in both the left and right hands. Compositionally, the different sections seemed almost too varied to me, making the piece feel a little segmented. Perhaps I just need to revisit it again and eventually experience more familiarity.

All in all, this was a very well played performance and a most enjoyable afternoon. And thank you to Bargemusic for providing printed programs—it’s very helpful to me. Another patron went to get one as soon as she saw mine and heard my reaction to what was on the program.

Bonus!

Part of my Sunday afternoon was spent at Bryant Park, attending portions of the
65th Annual Obon Dance Festival—a summer Buddhist holiday in Japan and Japanese American communities honoring the memory of those who have passed away. Participants included Tachibana Dance Group, members of the public (invited to join in the folk dances being performed), and Soh Daiko, a terrific taiko performing group (drumming and intricate, athletic choreography). The entire afternoon, or at least the part I attended, was a lot of fun and carried a lot of meaning. Yes, I even participated in one of the easier folk dances. And it’s always a pleasure to see Soh Daiko—this was my second time. There’s free culture out there, folks. Take advantage.

ConcertMeister