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SEQUENZA21/
340 W. 57th Street, 12B, New York, NY 10019

Zookeeper:   
Jerry Bowles
(212) 582-3791

Managing Editor:
David Salvage

 Contributing Editors:
Galen H. Brown
Evan Johnson
Ian Moss
Lanier Sammons
Deborah Kravetz
(Philadelphia)
Eric C. Reda
(Chicago)
Christian Hertzog
(San Diego)
Jerry Zinser
(Los Angeles)

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Jeff Harrington

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Record companies, artists and publicists are invited to submit CDs to be considered for review. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019

Friday, December 09, 2005
Philadelphia Sounds: Network for New Music and Leon Fleisher

Philadelphia�s Network for New Music program Music from the Hands and Heart featured the hands of guest pianist Leon Fleisher, and (mostly) new music. Let�s begin by conceding that Fleisher certainly can play. After 40 years of playing only pieces for the left hand (and teaching and conducting), Fleisher is now playing with both hands, and doing that very well.

Dina Koston�s 2002 Messages I for solo piano has two hands of cascading notes in short phrases, pleasant in themselves, but disconnected musings. On the other hand, Musical Offerings for Left Hand Alone (1998) by George Perle is in three movements of cool short phrases.

The Network for New Music Ensemble performed the Octet (A Grand Fantasia) (1980) by George Rochberg. The composer called the twelve short movements �a series of�gestures� that demonstrate a variety of musical emotions and contrasts. There is dark intensity for strings and horn, and flowing light lines for flute and clarinet.

In contrast to all this spare modernism, Erich Korngold is known for his lushly dramatic movie scores of the 1930s and 40s. His 1930 Suite, Op. 23 scored for violins, cello and piano, allowed Fleisher to once again share his skills in left hand playing, with a series of dramatic rising phrases that open the piece; responding string passages are intensely dramatic and often unison. In subsequent movements, the lines flow more smoothly, in particular the lyrical phrases of Walzer, Groteske and Lied movements, and the closing Rondo variations. Before this piece, Fleisher thanked the audience for its willingness to �refresh your ears�, but Korngold was itself refreshing and the highlight of the program. Fleisher was assisted by Hirono Oka and Gloria Justen, violins, and Ohad Bar-David, cello.
(Reposted from Penn Sounds 12/8/05.)
posted by Deborah Kravetz 12/09/2005



 
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