Tag Archives: Scriabin

Pianist Excels at Franco Center Recital

Franco Center Piano Series
Christopher Staknys
Franco Center, Lewiston
Jan. 20, 2017
by Christopher Hyde

At the advanced age of 20, pianist Christopher Staknys has already performed three times at the popular piano series of the Franco Center in Lewiston. The first time, at the age of ten, he had just broken his right arm and played his own composition for the left hand alone.

Probably just a coincidence, but the young pianist’s most successful rendition on Friday evening was the Sonata-Fantasy in G-sharp Minor, Op. 19, of Alexander Scriabin, best known for his Nocturne for the left hand.

Scriabin’s early piano works are heavily influenced by Chopin, but more virtuosic. The sonata, like those of Chopin, requires a master to bring out the internal voices amidst a Russian snowstorm of notes.

Staknys was more than up to the task,  in a well-balanced performance that, in the final presto, seemed like bolts of lightning inside a dark thundercloud.

Staknys, who lives in Falmouth and is now attending Juilliard, may have been nervous at the beginning of the concert, since he attacked the Mozart Sonata No. 8 in A Minor (KV 310) like a falcon dive-bombing a pigeon.

It was fascinating to hear. No one should be able to play that fast and furious without making a single mistake. “No, he can’t possibly negotiate that passage correctly at that speed!” But he does. Miraculous, but unfortunately not Mozart.

The accelerator was slightly less depressed in three waltzes from Chopin’s Opus 34, but they still sounded like Godowsky transcriptions of Strauss. The best was No. 2 in A Minor, which demands some thoughtful melancholy.

During the first half of the program, the young pianist was most at home in “Ondine,” from Ravel’s “Gaspard de la Nuit,” with its sparkling sprays of water flicked off by the nymph of the title, who is trying to get the poet to come with her to her palace under the lake.
A little more contrast of moods, from playful through Romantic to pouting (when the poet refuses her), would have been ideal, but the entire portrait was brilliant and technically flawless.

The second half began with two original preludes, dedicated to the pianist’s mother. They were reminiscent of Scriabin as well in their tonal ambiguity, if not in their playfulness.

A Schubert Allegretto in A-flat Major, No. 6 of Moments Musicaux, Op. 94 (D. 780), demonstrated what Staknys could do with a more relaxed and thoughtful approach. It was gorgeous, especially the certainty of voices in the ever-modulating chords.

The encore was a set of improvisations on “Over the Rainbow,” with a reference to “My Country, ’Tis of Thee” appropriate to Inauguration Day. The occasion may have influenced attendance, but there should have been many more in the hall. A fine concert, crepes and wine at intermission and champagne and conversation with the artist afterward. What could be better than that?

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

Eroticism in Music

Classical Beat Column
by Christopher Hyde

The Portland Symphony Orchestra’s “Beethoven and Strauss” program, Jan. 24 and 26 at Merrill Auditorium. in addition to Beethoven’s shortest and most unusual symphony, the Eighth, includes some of the most erotic works in the repertoire: Richard Strauss’ Prelude to Act I of “Guntram,” Love Scene from “Feursnot” and the famous “Dance of the Seven Veils” from “Salome,” with guest artist soprano Patricia Racette.

It was reported a few years ago that scientists at the Montreal Neurological Institute have discovered that music activates the same reward centers of the brain as food and sex.

Some pieces of music activate better than others, but the effect has nothing to do with content. Overt or hidden erotic messages, as in the pieces programmed by the PSO, may help, but Beethoven and Bach affect the same pleasure centers as “Der Rosenkavalier.” What other areas they stimulate–memory, discovery, aesthetic beauty or rational intellect–is an entirely different question. (See Oliver Sacks’ “Your Brain on Music.”)

There are a couple of Bach cantatas that have the same erotic effect—Christ as the immortal beloved— as the Bernini sculpture of the Ecstasy of St. Teresa. “Wann kommst du, mein Heil?” from the Cantata No. 140 is one.

Music director Robert Moody has selected two leading candidates for the most erotic piece of music, at least according to some informal surveys on the internet.

Richard Strauss has the largest number of mentions, including “Der Rosenkavalier,” which is full of hidden risque meanings, “Salome” and even the “Domestic Symphony” and the “Four Last Songs.” Strangely enough, no one mentioned “Die Frau Ohne Schatten,” which is about nothing but eroticism.

A Ravel work, the “Bolero,” also had several mentions. I find it quite similar to the “Liebestod” in its gradual build-up to an overwhelming climax, in the case of the Wagner a union of Eros and Thanatos, and in the Ravel, appropriately enough, a change of key.

Among the moderns are, of course, Stravinsky’s “Rite of Spring” and Schoenberg’s “Pierrot Lunaire,” plus John Adams’ “Harmonium.” Since Adams is one of Moody’s favorite composers it would be interesting to hear this some time near Valentine’s Day.

There was also considerable discussion of Luciano Berio’s tape “Visage” for voice and electronic sounds, although to my mind this one and Pierrot seem more weird than erotic.

One work that I was not familiar with was Karol Szymanovski’s Symphony No. 3. Szymanowski, a friend of pianist Artur Rubinstein, was openly homosexual when that was taboo, and the symphony is supposedly full of homoerotic messages.

I have always wondered exactly how erotic images could be conveyed in music, but an analysis of the images in the Third Symphony told me much more than I wanted to know. The treatise is one of the most abstruse pieces of musical analysis I have ever encountered, having to do (I think) with chordal analysis and progressions, as well as rhythm.

Many of the selections on the internet were equally puzzling, at least to this reader. Scriabin’s grandiose “Poem of Ecstasy” was right up there, but I find it more embarrassing than erotic. His early Chopin-like Preludes are more realistic and Romantic at the same time.

On the subject of eroticism in music one has to fall back on the old dictum about pornography: “I know it when I see it.”

In the meantime, “If music be the food of love, play on.”

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