Jeremy Denk recital

[Steinway]

http://www.philly.com/philly/entertainm ... umann.html

[Ricordanza]

Here are my impressions from this recital:

Jeremy Denk has an outstanding reputation as a pianist, whether as a solo recitalist, chamber musician or concerto soloist. But he is almost equally well known as a writer. His off-beat blog, “Think Denk,” is highly regarded. His writing can also be found in publications musical and otherwise—a recent book review of Paul Elie’s Reinventing Bach in The New Republic was both witty and eloquent. Here’s how he began that review:

"The only two things missing in Bach’s music are randomness and sex. And yet in our era—so consumed with both—Bach has not lost his appeal. Bach’s ongoing star quality and his endless DNA-like capacity for mutation and adaptation are the subject of Paul Elie’s passionate and grand book."

Essentially, Denk is a communicator—he always has something interesting to say, whether expressed in prose or music.

So it was no surprise that when Denk walked on to the stage at the Perelman Theater in the Kimmel Center on Tuesday evening, December 18 (the original concert date, October 30, was postponed due to Hurricane Sandy) he began with a brief talk about the piece that opened his piano recital program--Schumann’s Davidsbündlertänze (Dances of the League of David). Denk informed us about Schumann’s admiration for Schubert’s waltzes, but noted that the pieces of this set could be considered “waltzes on steroids.” He also told us to listen for the haunting theme of the second piece of the set, and gave us a “spoiler alert” that the theme would return in the next to last piece.

When Denk sat down to play, we were in the mood for an adventure, and that’s what he delivered, with a pianistic tour of Schumann’s unbridled imagination. I have heard this 18-piece set only once before in concert—Mitsuko Uchida’s recital two years ago on the same stage. It is played less often than other Schumann works, but as Denk noted in his introduction, it is a favorite of musicians, and when played in such a masterful fashion, it is certainly a favorite of this audience member.

For the second half of the program (well, more than half), Denk presented Bach’s magisterial, hour-long Goldberg Variations. This work is one of the wonders of the keyboard repertoire. The opening theme is simple, yet elegant and memorable. Most of the variations follow a similar format: a single treble line, which may be fast or slow, and a bass counterpoint. But within this seemingly confining structure, Bach manages to construct a fascinating and enormously varied world in the 30 variations. Throughout, there are unexpected notes, surprising dissonances, and passages of great keyboard brilliance. I’ve listened to recordings many times, but this was my first live performance, and it offered a great opportunity to appreciate the overall architecture of this massive work, as well as the incredible details. I was particularly struck by Variation 25, which sounds 150 or 200 years ahead of its time as it strays from tonality.

I realize that all of the above is about the music, and I’ve said almost nothing about Denk’s performance. Perhaps it’s a cliché, but with Denk, it IS all about the music. Clearly, he’s an individual who has definite ideas about how he wants to play a work, and more than enough of the requisite skill to do what he wants on the keyboard (readily apparent in the clear articulation and rhythmic integrity he maintained in the thorniest passages of the Schumann and Bach works). But I never got the feeling that he was imposing his personality on these works. I could not have asked for better performances.

Not surprisingly, there was no encore (despite a standing ovation from the entire audience). What else is there to say after the Goldberg Variations?

[Steinway]

Henry..


You put Cobrin's review back into the shadows.

This was a marvelous recital and feel very pleased to have been there.

Have a great holiday.