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Yefim Bronfman Dazzles Groton – The Boston Musical Intelligencer – Lyric Say

Yefim Bronfman (file photograph)

Yefim Bronfman’s Sunday piano recital on the stunning new Groton Hill Music Heart impressed me deeply. The Uzbekistan-born Israeli-American with the fingers of a Swiss watchmaker opened with Schubert’s “Little A Minor” Sonata, D 784. In three actions, it’s not as nicely often called the larger A Minor (D 845). The primary motion, the largest-proportioned, is notable for a theme with two similar notes of the identical length. It ranges from delicate pianissimo to the loudest fanfare that the piano can muster, over a booming dotted-rhythm bass. Bronfman appeared totally comfy with this, drawing forth a fantastic tone over the vast dynamic vary. The F main sluggish motion is sort of sentimental, however it’s temporary, and the operating triplets of the finale that follows increase easy noodling to the empyrean.

Bronfman had some issues at first with Schumann’s Faschingsschwank aus Wien, Carnival Jest from Vienna, op. 26, subtitled “Fantasy Pictures.” The opening chorus of arpeggiated chords, returning 4 occasions, was largely blurred, the eighth notes not clearly articulated and/or overpedaled, making for an excessively bumptious improvised sound. And there’s a syncopated-trochaic passage quickly after when you possibly can’t really feel the barline and it by no means appears to work — blame Schumann for that. However the barely hid quote from “La Marseillaise” introduced a broad realizing smile, and the rest of the Carnival Jest — Romanze, Scherzino, Intermezzo, and Finale, all very brief — went very nicely, stuffed with wit and animation. It’s enjoyable in addition to sarcastic-serious.

The second half lacked the beforehand marketed Chopin B Minor Sonata quite gave us the grasp’s nice Nocturne in D-flat Main, op. 27, no. 2; Bronfman delivered it with beautiful care and feeling, as if nothing else on this planet mattered.

Prokofiev’s accomplished his Seventh Sonata, op. 83, nominally in B-flat main, in the course of the years of the Nice Patriotic Struggle, and it’s no surprise that the tempo marking of the primary motion is Allegro inquieto. This well-wrought, spare-textured piece is sharp and dry, however there’s a dance spirit in it as nicely, interspersed with quietly expressive andantino episodes. The sluggish motion, with some corny melody that just about might need come from Stephen Foster however that broadens out right into a Rachmaninoff-like grandiosity, provides some thought of what an professional and acerbic pianist Prokofiev himself should have been. However essentially the most well-known a part of this in style Soviet work is the Precipitato finale, a giant toccata in 7/8 meter. Bronfman introduced the entire thing to life in a roar, and the entranced full home totally signaled its enthusiasm.

It was plain that our customer loved the reception and the mood of the second, obliging the rapt listeners with two encores, Schumann’s Arabeske in C Main — I by no means heard it extra lovingly performed — and Rachmaninoff’s ever-popular G Minor Prelude, op. 23, no. 5.

Mark DeVoto, musicologist and composer, is an professional on the music of Alban Berg, Debussy, and different early Twentieth-century composers. A graduate of Harvard Faculty (1961) and Princeton (Ph.D., 1967), he has revealed on many music topics, and edited the revised fourth (1978) and fifth (1987) editions of Concord by his trainer Walter Piston.

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