Reviews (Details Page)
Classical Music Guide - July 10, 2024
Written by Donald Isler
Recital by Alon Goldstein
Alon Goldstein - IKIF
26th International Keyboard Institute and Festival
Merkin Hall, New York
July 10th, 2024
Bach/Siloti: Prelude in B Minor (WTC Book 1)
Fanny Mendelssohn: September - "At the River"
Felix Mendelssohn: Song Without Words - "The Hunt"
Bach/Petri: "Sheep May Safely Graze"
Schubert: Impromptus, Op. 90
Chen Yi: Variations on Awariguli
Bernstein/Goldstein: "The Masque" from Bernstein's Symphony No.2 ("The Age of Anxiety")
Glass: Etude No. 6
Chopin: Scherzo No. 3 in C-Sharp Minor, Op. 39
Alon Goldstein is an Israeli-born pianist whose past performances at this Festival I have enjoyed. In addition to being an excellent pianist, he has a friendly personality, and usually makes comments about the music to the audience. A student of Leon Fleisher - as whose assistant he served - he has made numerous recordings, and performed all over the United States, Europe and Israel, and has taught at the University of Missouri at Kansas City, among other places,
His recitals are often composed of an intriguing combination of works, as was this one. He also groups pieces together in interesting ways, for example playing the first four as a set, without pauses in-between them.
The Bach/Siloti Prelude with which he began sounded ethereal and almost impressionistic. It was followed by the Fanny Mendelssohn piece "At the River," in the same key, and in a similar mood at the beginning, though there was increasing passion later on. Indeed, we don't hear enough of Felix Mendelssohn's music, and even less of his sister's compositions. It was followed by one of the Songs Without Words by Felix, the "Hunt," in A Major, which was boisterous and rollicking, featuring lovely passage work at the end.
At the end of this set came the Bach/Petri "Sheep May Safely Graze," which Goldstein's teacher, Leon Fleisher, also used to play. Mr. Goldstein's performance featured a straight-forward tempo, and was eloquent in its simplicity, with cross voices beautifully and clearly presented at different volumes.
Though I occasionally felt Mr. Goldstein used a bit too much rubato in the Schubert Impromptus he played them well and convincingly. Indeed, the beginning of the first one sounded as if he were setting off on a long journey, and was very expressive. He lingered effectively over the transition into A-Flat Major and modulating sections. He "set sail" at the beginning of the second Impromptu, and played the B-Minor section quite assertively, with the end of the piece rather faster than one usually hears it.
The mellow third Impromptu in G-Flat Major rolled along beautifully. Later, while in E-Flat Minor, it became more dramatic, later transitioning beautifully back into the home key. The beginning of the Fourth Impromptu, which begins in A-Flat Minor, came as a radical harmonic shock, after the closing of the previous piece. This Impromptu featured lightness at the beginning, but more intensity later, plus a triumphant end.
I particularly enjoyed the first two pieces on the second half of the program and would be happy if they became part of the standard mainstream repertoire!
The work by Chen Yi consists of variations on a Chinese folk theme. It is accessible, and not too "far out" harmonically. The tonal center is B, and the theme is based on the pentatonic scale. As it progresses, there are more elaborate figurations, different rhythms, quieter, "shaded" sounds, a fugue, and a big octave section. It has charm and brilliance, and ends in B Major, with the first two notes of the original theme.
Mr. Bernstein's transcription of "The Masque" from Bernstein's "Age of Anxiety" was a rip-roaring showstopper! A bleak harmonic beginning is followed by constant jazzy rhythms and cross-rhythms, what sounded like the theme of "Rockabye Baby," octaves tossed all about, and even some lovely right hand filigree passages. Brilliant!
Then came the Glass Etude No. 6 in F Minor. It featured very fast repeated notes, later in octaves, a huge increase in the tension at one point, and a sudden surprise ending one note above the tonic key.
The printed program concluded with the C-Sharp Minor Scherzo of Chopin. There was elegance and drama here, quiet in the slow contrasting E Minor section, and a very effective buildup in the section leading to the conclusion.
Mr. Goldstein played one encore, a Sonata in C Minor by Scarlatti. It was teasingly soft, with lovely fluttering ornaments, and a lot of charm.
Classical Music Guide - July 10, 2024
Written by Donald Isler
Recital by Alon Goldstein
Alon Goldstein - IKIF
26th International Keyboard Institute and Festival
Merkin Hall, New York
July 10th, 2024
Bach/Siloti: Prelude in B Minor (WTC Book 1)
Fanny Mendelssohn: September - "At the River"
Felix Mendelssohn: Song Without Words - "The Hunt"
Bach/Petri: "Sheep May Safely Graze"
Schubert: Impromptus, Op. 90
Chen Yi: Variations on Awariguli
Bernstein/Goldstein: "The Masque" from Bernstein's Symphony No.2 ("The Age of Anxiety")
Glass: Etude No. 6
Chopin: Scherzo No. 3 in C-Sharp Minor, Op. 39
Alon Goldstein is an Israeli-born pianist whose past performances at this Festival I have enjoyed. In addition to being an excellent pianist, he has a friendly personality, and usually makes comments about the music to the audience. A student of Leon Fleisher - as whose assistant he served - he has made numerous recordings, and performed all over the United States, Europe and Israel, and has taught at the University of Missouri at Kansas City, among other places,
His recitals are often composed of an intriguing combination of works, as was this one. He also groups pieces together in interesting ways, for example playing the first four as a set, without pauses in-between them.
The Bach/Siloti Prelude with which he began sounded ethereal and almost impressionistic. It was followed by the Fanny Mendelssohn piece "At the River," in the same key, and in a similar mood at the beginning, though there was increasing passion later on. Indeed, we don't hear enough of Felix Mendelssohn's music, and even less of his sister's compositions. It was followed by one of the Songs Without Words by Felix, the "Hunt," in A Major, which was boisterous and rollicking, featuring lovely passage work at the end.
At the end of this set came the Bach/Petri "Sheep May Safely Graze," which Goldstein's teacher, Leon Fleisher, also used to play. Mr. Goldstein's performance featured a straight-forward tempo, and was eloquent in its simplicity, with cross voices beautifully and clearly presented at different volumes.
Though I occasionally felt Mr. Goldstein used a bit too much rubato in the Schubert Impromptus he played them well and convincingly. Indeed, the beginning of the first one sounded as if he were setting off on a long journey, and was very expressive. He lingered effectively over the transition into A-Flat Major and modulating sections. He "set sail" at the beginning of the second Impromptu, and played the B-Minor section quite assertively, with the end of the piece rather faster than one usually hears it.
The mellow third Impromptu in G-Flat Major rolled along beautifully. Later, while in E-Flat Minor, it became more dramatic, later transitioning beautifully back into the home key. The beginning of the Fourth Impromptu, which begins in A-Flat Minor, came as a radical harmonic shock, after the closing of the previous piece. This Impromptu featured lightness at the beginning, but more intensity later, plus a triumphant end.
I particularly enjoyed the first two pieces on the second half of the program and would be happy if they became part of the standard mainstream repertoire!
The work by Chen Yi consists of variations on a Chinese folk theme. It is accessible, and not too "far out" harmonically. The tonal center is B, and the theme is based on the pentatonic scale. As it progresses, there are more elaborate figurations, different rhythms, quieter, "shaded" sounds, a fugue, and a big octave section. It has charm and brilliance, and ends in B Major, with the first two notes of the original theme.
Mr. Bernstein's transcription of "The Masque" from Bernstein's "Age of Anxiety" was a rip-roaring showstopper! A bleak harmonic beginning is followed by constant jazzy rhythms and cross-rhythms, what sounded like the theme of "Rockabye Baby," octaves tossed all about, and even some lovely right hand filigree passages. Brilliant!
Then came the Glass Etude No. 6 in F Minor. It featured very fast repeated notes, later in octaves, a huge increase in the tension at one point, and a sudden surprise ending one note above the tonic key.
The printed program concluded with the C-Sharp Minor Scherzo of Chopin. There was elegance and drama here, quiet in the slow contrasting E Minor section, and a very effective buildup in the section leading to the conclusion.
Mr. Goldstein played one encore, a Sonata in C Minor by Scarlatti. It was teasingly soft, with lovely fluttering ornaments, and a lot of charm.
Classical Music Guide
July 10, 2024
Written by Donald Isler
Recital by Alon Goldstein
Alon Goldstein - IKIF
26th International Keyboard Institute and Festival
Merkin Hall, New York
July 10th, 2024
Bach/Siloti: Prelude in B Minor (WTC Book 1)
Fanny Mendelssohn: September - "At the River"
Felix Mendelssohn: Song Without Words - "The Hunt"
Bach/Petri: "Sheep May Safely Graze"
Schubert: Impromptus, Op. 90
Chen Yi: Variations on Awariguli
Bernstein/Goldstein: "The Masque" from Bernstein's Symphony No.2 ("The Age of Anxiety")
Glass: Etude No. 6
Chopin: Scherzo No. 3 in C-Sharp Minor, Op. 39
Alon Goldstein is an Israeli-born pianist whose past performances at this Festival I have enjoyed. In addition to being an excellent pianist, he has a friendly personality, and usually makes comments about the music to the audience. A student of Leon Fleisher - as whose assistant he served - he has made numerous recordings, and performed all over the United States, Europe and Israel, and has taught at the University of Missouri at Kansas City, among other places,
His recitals are often composed of an intriguing combination of works, as was this one. He also groups pieces together in interesting ways, for example playing the first four as a set, without pauses in-between them.
The Bach/Siloti Prelude with which he began sounded ethereal and almost impressionistic. It was followed by the Fanny Mendelssohn piece "At the River," in the same key, and in a similar mood at the beginning, though there was increasing passion later on. Indeed, we don't hear enough of Felix Mendelssohn's music, and even less of his sister's compositions. It was followed by one of the Songs Without Words by Felix, the "Hunt," in A Major, which was boisterous and rollicking, featuring lovely passage work at the end.
At the end of this set came the Bach/Petri "Sheep May Safely Graze," which Goldstein's teacher, Leon Fleisher, also used to play. Mr. Goldstein's performance featured a straight-forward tempo, and was eloquent in its simplicity, with cross voices beautifully and clearly presented at different volumes.
Though I occasionally felt Mr. Goldstein used a bit too much rubato in the Schubert Impromptus he played them well and convincingly. Indeed, the beginning of the first one sounded as if he were setting off on a long journey, and was very expressive. He lingered effectively over the transition into A-Flat Major and modulating sections. He "set sail" at the beginning of the second Impromptu, and played the B-Minor section quite assertively, with the end of the piece rather faster than one usually hears it.
The mellow third Impromptu in G-Flat Major rolled along beautifully. Later, while in E-Flat Minor, it became more dramatic, later transitioning beautifully back into the home key. The beginning of the Fourth Impromptu, which begins in A-Flat Minor, came as a radical harmonic shock, after the closing of the previous piece. This Impromptu featured lightness at the beginning, but more intensity later, plus a triumphant end.
I particularly enjoyed the first two pieces on the second half of the program and would be happy if they became part of the standard mainstream repertoire!
The work by Chen Yi consists of variations on a Chinese folk theme. It is accessible, and not too "far out" harmonically. The tonal center is B, and the theme is based on the pentatonic scale. As it progresses, there are more elaborate figurations, different rhythms, quieter, "shaded" sounds, a fugue, and a big octave section. It has charm and brilliance, and ends in B Major, with the first two notes of the original theme.
Mr. Bernstein's transcription of "The Masque" from Bernstein's "Age of Anxiety" was a rip-roaring showstopper! A bleak harmonic beginning is followed by constant jazzy rhythms and cross-rhythms, what sounded like the theme of "Rockabye Baby," octaves tossed all about, and even some lovely right hand filigree passages. Brilliant!
Then came the Glass Etude No. 6 in F Minor. It featured very fast repeated notes, later in octaves, a huge increase in the tension at one point, and a sudden surprise ending one note above the tonic key.
The printed program concluded with the C-Sharp Minor Scherzo of Chopin. There was elegance and drama here, quiet in the slow contrasting E Minor section, and a very effective buildup in the section leading to the conclusion.
Mr. Goldstein played one encore, a Sonata in C Minor by Scarlatti. It was teasingly soft, with lovely fluttering ornaments, and a lot of charm.
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The International Keyboard Institute & Festival is a
publicly supported 501(c)(3) organization.
Any contribution will be
greatly appreciated and is tax deductible to the full extent of the law.
The International Keyboard Institute & Festival is a publicly supported 501(c)(3) organization. Any contribution will be greatly appreciated and is tax deductible to the full extent of the law.