Posted on Tue, Mar. 27, 2007
BY LAWRENCE A. JOHNSON
The Miami International Piano Festival has filled a gaping void over the last decade and provided a major lift to the local music scene. The festival has its faults -- an overemphasis on young prodigies and the same handful of artists, excellent as they are.
Still, under the direction of guiding light artistic director Giselle Brodsky, the festival has presented many stellar artists and memorable nights. Monday evening at the Broward Center's Amaturo Theater, the festival opened its 10th anniversary season with one of the most combustible events to date with Frederic Rzewski's performance of his The People United Will Never Be Defeated!
Written in 1971, Rzewksi's work is a massive set of 36 variations on the title song, a Chilean revolutionary anthem by Sergio Ortega. The long, winding theme lends itself well to variation treatment, and Rzewski mines an astonishing variety of expression and harmonic complexity. The demands are tortuous and unrelenting; the soloist is required to perform an array of pianistic hurdles, as well as such offbeat effects as slamming the piano lid and whistling. Yet there's nothing gimmicky about the music, which manages to sustain interest over 65 minutes and many permutations.
The composer's performance was a tour de force. Rzewksi, 68, possesses a remarkable technique and striking stamina, putting across the violent contrasts and musical riches with extraordinary communicative impact.
Rzewksi brought forceful drive and anarchic eloquence to the main theme's various manifestations from mysterious, minimalist foreboding to nocturnal cool-jazz improvisation and triumphant revolutionary swagger. The pianist's fiery, spontaneous performance was rounded off with a climactic improvised cadenza and thunderous coda that made a staggering impact.
Emanuele Arciuli had the unenviable task of following Rzewski after intermission. But the Italian pianist provided his singular brand of artistry in a characteristically quirky and intelligent program.
Arciuli brought luminous tonal hues and polished bravura to music of Liszt (Sposalizio from Annees de Pelerinage) and Debussy (L'Isle Joyeuse). In Fred Hersch's Nocturne for theleft hand, Arciuli's searching, lyrical performance built up a considerable storm with just five digits.
In Chick Corea's Children's Songs Arciuli conveyed light innocence and charm as well as blistering virtuosity. And in two of Rzewski's Four Pieces (Nos. 3 and 4), Arciuli's scrupulous dynamic control and incisive articulation gave superb advocacy to the composer's hammering virtuosity and offbeat effects.
Lawrence A. Johnson is classical music critic of The Miami Herald.
