San Francisco Classical Voice

Original and penetrating performances of well-known works by Chopin were offered Friday by Gabriela Montero at Old First Concerts, sponsored by the Chopin Foundation. Several of the pieces are so familiar that even the most casual listener can whistle the tunes. Montero's refreshing spirit breathed life into a repertoire that is often trivialized by novelty and cliche.

Montero played with an inimitable naturalness, an act of genuine musical recreation. The opening Nocturne in D-flat Major, op. 27, no. 2, was pliable. Inner voices emerged with unforced ease. The C Minor Nocturne, op. 48, no. 1, had an imposing drama, with tremendous sweep in the transition to C major. The reprise felt enlarged by Montero to powerfully climactic effect, almost triumphant.

Although the Waltz in A-flat Major, op. 34, no. 1, is "light" music, Chopin continued to fuss with details on the engraver's manuscript, an indication that the piece was to be not only great fun for the pianist and listener but a work of artistic seriousness. The rhythmic opening bristles with energy. Montero played with dancelike abandon, considerable range of dynamics, and an unusual lyricism in the middle section.

The pianist's inner pulse was visceral in the Fantasie-Impromptu, op. 66. Her breathtaking tempo allowed opportunity to stretch downbeats without becoming mannered. A real vocal sense, as if emphasizing a syllable in a word, and a real melodic inflection to the bass line made for a remarkable interpretation.

The 16-bar announcement of the Polonaise in A-flat Major, op. 53, has tremendous anticipatory tension until it resolves at the entrance of the main material, marked maestoso. This was an unhurried performance, complete with strut and swagger, but calculated with consideration of the wet acoustics of the hall.

After intermission, the Scherzo no. 3 in C-sharp Minor, op. 39, and the Sonata no. 2 in B-flat Minor, op. 35, were presented. Montero approached the Scherzo with playful impishness and yet kept it coherent. She brought texture and color to the fore. Sprays of figuration in the trio were sensually exquisite.

Chopin built his Second Sonata around the already-composed ritualistic Funeral March. He frequently taught the Beethoven Sonata op. 26 and most probably used it is a conscious framework. Chopin's piece transcends its model.

Montero pushed the ends of phrases in the opening of the Sonata with a wonderful sense of agitation. The development section was especially dramatic and assertive. Her impetuousness in the Scherzo movement never became reckless. But Montero miscalculated the pacing in returning to the A section. The nocturne-like middle sections of the first three movements were haunting, almost hypnotic in their nonpercussiveness. It was here that Montero was at her best.

Often, the gold of the piano world is just glitter. After receiving the bronze medal in the International Chopin Competition held in Warsaw five years ago, Gabriela Montero first appeared at Old First Concerts. Her return has been awaited in local piano circles ever since. What she had to say about--and through--Chopin was well worth the wait. Her technique gave the impression of being directly connected to her voice, with a sense of timing as natural as breathing. Bronze, in this case, is better than gold.

(John McCarthy is a pianist and teacher. He is Director of Preparatory and Extensions Divisions at the San Francisco Conservatory of Music)

©2000 John McCarthy, all rights reserved