Tag Archives: Lewin

Classics from South America, at the Franco Center

MIchael Lewin, Pianist
Franco Center, Lewiston
March 10, 2017
by Christopher Hyde
One of the finest, and most unusual, piano recitals of the year happened Friday night, Mar. 10, as part of the 2016-17 Piano Series at the Franco Center in Lewiston.

Michael Lewin, Professor of Piano at the Boston Conservatory at Berklee, after acclaimed recordings of Debussy, Scarlatti, Liszt and Charles Tomlinson Griffes, has begun to explore Latin American classical music, and his discoveries made up a large part of the program.

Lewin’s technique is astounding, but always in the service of a musical imagination which contains a refreshing amount of intellectual curiosity. One his recordings deals with musical depictions of birds, and another with music inspired by the spirit world.

The program began with the Beethoven Sonata No. 3 in C Major (Op. 2, No. 3), which is not heard very often, perhaps because its transitional nature, moving away from Mozart and Haydn into his own realm, but more of a showpiece than an expedition into new territory. It does, however, offer premonitions of more characteristic work, while illustrating why the young Beethoven was in demand as a performer.

It was followed by the fiendishly difficult Sonata No. 1, Op. 22 (1952) by Argentine composer Alberto Ginastera (1916-1983). In discussing the work after the concert, Lewin explained that he played it with the score, since he was still perfecting its performance. The work is so complex, dense and rapid that it doesn’t seem as if a score would help in playing it. Even turning the pages was a virtuoso exercise.

Like his compatriot, Astor Piazzolla, Ginastera uses Latin dance forms primarily as a framework for  complex musical ideas and imagery. In fact, these musical echoes may not even be deliberate, but part of each composer’s heritage, sounding “Latin” only to northern ears.

My favorite section of the 15-minute sonata was the Presto Misterioso second movement, with its combinations of chords and sprays of notes at the extreme ends of treble and bass.

After intermission, Lewin played shorter dance works by Erensto Lecouna and Ernesto Nazareth, and “A lenda do cobaclo” (Legend of the Native) of Heitor Villa-Lobos. Lecouna (1895-1963) is best known for “Malagueña,” but his “La conga de la media noche” shows what “The Cuban Gershwin” could do with more sophisticated musical forms and “modern” harmony.

Lewin is known as a Liszt performer, and the final works on the program were the “Petrarch Sonnet,” No. 123, and the “Mephisto Waltz,” No. 1, masterpieces of musical imagery. The encore was an early Scriabin Etude.

The Franco Center piano series remains too much of an undiscovered treasure. Its artists are the equal of any performing in Maine, the venue and its acoustics are superb, and the price is low (including champagne with the pianist). Kevin Ayesh is coming on April 21, and I urge all lovers of the piano to attend and discover what they are missing.

 

Christopher Hde is a writer and musician who lives in Pownal.  He can be reached at classbeat@netscape.net.