San Francisco Classical Voice

Jeffrey Kahane is certainly no stranger to Bay Area audiences. His brilliant and dynamic musicianship has been lauded on numerous occasions, both as a pianist and as a conductor. Friday's program of fantasies by Chopin, Copland, and Schumann at Herbst Theater revealed flashes of that brilliance, along with stretches that were less successful. Too often it seemed as if Kahane was fidgeting self-consciously with the music instead of allowing it to flow naturally. I came away from the concert with respect for his abilities as a musician but not especially fulfilled as a listener.

The most successful performance was that of Aaron Copland's Piano Fantasy. Kahane pointed out in a brief and witty chat beforehand that the work, though written in 1957, is seldom heard in concert and has yet to enter the standard repertory (Copland himself referred to it as a monster). It is a demanding work, for both the pianist and the listener. But the vigor and conviction of Kahane's playing made the half-hour pass quickly. I clearly sensed the improvisational quality inherent in this music, but Kahane also presented a clear sense of logic in the structure. The many contrasting elements — the driving rhythms, the moments of tender lyricism, and the massive chordal writing — were welded together most effectively. Especially noteworthy was a magical moment consisting of an extended series of trills. Here Kahane made sounds that evoked the haunting image of an eerie and fantastic night vision.

Kahane did not sound entirely comfortable with the opening work on the program, the Fantasy in F Minor, Op. 49, by Chopin. Although he did capture the foreboding quality of the opening march section, the feeling of tragic nobility that is so characteristic of this work was missing. Too often the phrasing was broken up into short segments, losing a grander sense of line. The faster sections of the music were never lacking in intensity, but many details seemed hurried over. In spite of some beautiful moments and interesting details of voicing, the parts of this performance did not add up to a convincing whole.

After intermission, Kahane presented the third fantasy of the evening, Robert Schumann's Fantasy in C, Op. 17. Unlike the Chopin and Copland works, Schumann's fantasy consists of three clear movements and has a more immediately perceptible structure. But, as Kahane clearly recognizes, it is still a fantasy. He seemed most intent on capturing the piece's mercurial aspects, although all too often at the expense of musical coherence.

There was plenty of impetuousness and ardor in Kahane's interpretation. His conception of the work seems basically a youthful one. But the essential sense of reflection was often missing. In the first movement, moments of passionate outburst alternate with tender lyricism. Though these qualities are indeed hallmarks of Schumann's style, Kahane's approach was prone to exaggeration and proved too erratic. An impish and imaginative middle section of the second movement failed to compensate for a basic lack of rhythmic solidity in the outer march sections.

The notoriously difficult final measures were a bit of a scramble, albeit an exciting one. In the third movement, Kahane finally seemed to relax and find more breadth and depth of expression. Here his beautiful tone sang fully, and the long phrases developed into more satisfying climaxes. But I must quibble with a hysterical moment near the end that spoiled the carefully established feeling of repose. While Kahane's performance was never lacking in imagination, more moments of simplicity and depth were needed.

Two encores concluded the evening: a charming rendition of Schubert's popular Moment Musical in F Minor and a rousing version of Gershwin's "I Got Rhythm." Kahane donated his services for this concert as a benefit for the Endowment Campaign for San Francisco Performances, and for this generous act should be applauded. The pianist's idea for the program was most creative, and he is unquestionably an imaginative and artistic musician. Perhaps on another evening he will be fantastic.

(Pianist William Wellborn performs and lectures in the United States and Europe, and from 1995 to1997 was host of the program Piano Legacy on San Francisco FM radio station KDFC. Wellborn is on the faculty of the San Francisco Conservatory, where he teaches courses in piano, piano history, and opera.)

©2000 William Wellborn, all rights reserved