However, we learned last night that Beethoven did not change his pedal markings as a result of his growing deafness, but rather as a way to make the Sonata quasi una Fantasia per il Clavicembalo o Piano=Forte ( Beethoven did not give it the Moonlight appellation ), which was even more fantastic on the quickly fading instruments of his time. In the tied fp opening statement of the Pathetique, we also learned about the relationship between degradation time and intensity.
Lec-Dem HIPster David Hyun-Su Kim, known to some of us from past Aston Magna outings as well as through regional appearances at Tufts, NEC, and with the Arpeggione Ensemble hereabouts, proved to be a cheerful, and engaging speaker and music visit guide. In this he was abetted by the presence of two of R. J. Regier’s educated and loud music versions. Kim, a guest director for the Moonlight, started making his case for non-pedaling by filling a dessert mildew with overlapping support in a small precis of the sonata opening on the West Newton Allen Center’s well voiced Steinway B. Eyerolls spread quickly. Therefore he proceeded to Regier’s Walther.
At once the instrument’s lighting, evenness of record, and great grading within the p – pppp collection made taking Beethoven at his word expected in this movement. Kim had earlier expressed his opinion on how Walter’s fast decay brought the schizophrenic Rondo in B-flat Major Wq 58 into sharp focus. Before it reached an abrupt trilling coda, He had guided us through its numerous seemingly improvisatory reversing meanders.
He then brought the subject of improvisation back to mind by explaining how Clara Schumann came up with quite definite theories. Then he gave Regier’s Graf the opportunity to show us a Mosaic Suite in the style of Clara Schumann, where Clara’s brief reflections accompanied and vividly summed three well-known Chopin works. On the Walter instrument, which speaks in distinct registers—a twangy bass, a singing middle range, and a treble that occasionally became wooden when stressed—Kim’s dreamy take on Chopin’s Nocturne in F-sharp Minor Op. 15, No. His admirable use of the dampers and moderator allowed the brief forte section to emerge from the diaphanous filigree. And his intimate, intimate rubatatos made us feel as though we were inside his living room. After Clara’s intro, with his head deeply bowed in reverence, Kim began a prayerful interpretation of Chopin’s Mazurka in F-sharp Minor Op. 6, No. 1 that was perceived in a range of pale shades. The Revolutionary Etude ended the set. After Clara’s essay in modulation, the etude itself emerged from a quiet, graceful rapture. But this is not a fantasy, and some of Kim’s poetic restraint felt out of place. He did not summon enough speed and power to excite us or let us forget the notes.
We have high expectations for the performances of Schubert’s valedictory Sonata in B-flat Major D. 960. The best keyboard players evoke deep mystical longing, especially in the immortal Andante sostenuto, and I have never felt that contemporary pianos have concealed or distorted either its pathos or springlike lightness. Kim certainly took his time ( 45 minutes vs 33 for Melvin Tan on a fortepiano or 49 for Gabriel Chodos’s modern-piano, tear-inducing account ), and he was unafraid to stop time altogether with dramatic pauses, but his tempo fluctuations and paint-by-numbers dynamics manipulations grew a bit tedious. The device also assisted in getting us into a trancelike state. Without much pitch definition, the growling bass trills waned. Power and long-lasting power occasionally appeared lacking. The Wanderer Fantasy on this instrument would not have appealed to me. On the other hand, some of Kim’s traversal did impress us. His moderate tempo in the Scherzo made it less out-of-place and shocking than it did after the Andante in more conventional interpretations. However, some filmy gauze also held the Scherzo back, making it too delicate and vivacious. He appeared to slow down when he played quietly and accelerate when he played loudly in the Allegro. Although some of Kim’s introspective mannerisms trampled my expectations for sweep and excitement, his tender poetry persisted.
The concert repeats Saturday night a St. James Place in Great Barrington.
Detail on the rest of Aston Magna’s season is HERE.
Lee Eiseman is the publisher of the Intelligencer
