Posted on Sun, May. 13, 2007
BY LAWRENCE A. JOHNSON
Under Giselle Brodsky's direction, the Miami International Piano Festival has compiled an impressive track record in choosing young artists, presenting such luminaries as Piotr Anderszewski, Gabriela Montero, Ingrid Fliter, and, this past week, Lise de la Salle.
But even Babe Ruth struck out sometimes, and the festival served up what can be charitably described as an undistinguished local debut by Martin Stadtfeld on Friday night at the Lincoln Theatre.
The 26-year-old German pianist possesses some sterling credits, not least winner of the International Bach Competition in 2002. Further, says Brodsky, he came highly recommended by Anderszewski, one of our finest Bach interpreters.
SOFT FOCUS
Stadtfeld possesses a solid enough technique and his articulation in Bach's Fifth and Sixth Partitas was clear with vital playing of the concluding Gigues.
But far too much of his Bach was lightweight -- unvaried in sonority at a fixed mezzo-forte, colorless and unremittingly dull. One would never know these movements were inspired by the dance from Stadtfeld's mechanical efficiency and blank, literal style.
The Sixth went somewhat better, but for the most part, this was old-fashioned sewing-machine Bach, counterpoint mechanically drilled out, with little spark or individuality. With his soft-focus approach, one expected some expression in the Sarabandes, but perversely Stadfeld's tempos turned brisk, giving the deeper passages no room to breathe. It felt as if the audience had accidentally walked into a rehearsal hall where a middling student was doggedly practicing, rather than a finished artist performing live.
DETACHMENT
If Stadtfeld's Bach was a disappointment, his Schubert was disastrous. The Sonata in B-flat major, D.960, is Schubert's greatest achievement in the genre, a work of profound depths and existential terror that manages to sound startlingly modern even today.
Stadtfeld's tepid performance presented a perfect example of an artist playing the notes but completely neglecting the music. Rarely will one hear the vast opening movement trudged through with so little feeling or sense of the music's searing drama. The ominous bass tremolos, unsettled harmonics, and explosive dislocations were all rendered with a neutral, straight-faced detachment that was almost comical. Stadtfeld took the ensuing Andante at a deadly crawl, with his mincing legato turning the sublime music into an interminable slog. The final two movements were marginally better but the damage had already been done.
THE AUDIENCE
The scant audience in attendance Friday night added to the feeling of irrelevance. Not a great night for the Miami Piano Festival -- or for Bach and Schubert.
