Pianist Anastasia Antonacos
Corthell Hall, USM Gorham
Jan. 22, 2016
by Christopher Hyde
Pianist Anastasia Antonacos’ recital, Friday night at Corthell Hall, was doubly daring. She led off with two Preludes by contemporary composer Elena Ruehr (b. 1963) and continued with two of the most well-known works in the repertoire, inviting comparison with every great pianist of the 20th Century.
The Ruehr preludes—“…solitary figure at water’s edge…” and “…a storm approaches land…” (sic), were effective in an imagist way, the first characterized by dry treble sforzandos, like points of light, punctuating the overtones of lower chords, and the second by rapid rhythms and stormy passagework. Both reminded me of the “Poems for Piano” of Vincent Persichetti, with whom Ruehr studied.
In opening remarks, Antonacos suggested that the famous “Le Tombeau de Couperin” might have been influenced by Ravel’s fascination with “The Last Domain” by Alain Fournier, a chronicle of lost youth which may account for the deep underlying emotional content of what is supposed to be a compendium of early French music.
These emotions were explored in Antonacos’ technically flawless performance of what is one of the most difficult of piano scores, especially the unbelievable concluding Toccata. The fortissimo of the Menuet infuses that stately dance with all the tragedy of World War I.
If I had any quarrel at all with Friday night’s interpretation it would be with one of the pianist’s virtues, an almost metronomically precise rhythm.
This was a minor problem in the Ravel but took center stage in the performance of the Four Impromptus, D. 935 (better known as Opus 142) of Franz Schubert.
It was noticeable in No.1, in F Minor, not allowing the supremely lyrical theme of the work to breathe freely, but I was more interested in the unusually dark tone that Antonacos gave the piece, alluding to the tragedy of Schubert’s last years.
It was a disaster, however, in No. 2 in A-flat Major, a deceptively simple work that requires legato chords. To achieve this effect in perfect rhythm, it was necessary to slow down the tempo to a snail’s pace. That proved tedious, because of all of the repeats, and spoiled the melodic effect of the central passage.
The third Impromptu, variations on the “Rosamunde” theme, was more successful, due to the recognizable nature of the theme under all the rapid filagree, and turned out to be delightful in the uncharacteristic No. 4 in F Minor. This gypsy-like composition, with its dramatic effects, has virtually no melody at all. It seems to have come from another planet than the first three.
Friday’s recital was the first in the USM Faculty Concert series. On Feb. 26, John Boden, French horn, will be featured in “Horns Aplenty,” with pianist Martin Perry. and Maine horn players Scott Burdditt, Nina Miller and Sophie Flood.