Following that came Alban Berg’s Op.1, the Viennese composer’s moody, inward-looking First Piano Sonata, in a performance that felt more dutiful than soulful.įive short movements from the 11 in György Ligeti’s Musica ricercata made a perfect bridge between Berg’s Piano Sonata and Glass’s. The charming set of Rio-tinged bouncy dances and a vibrant little fugue limits itself to the top half of the piano keyboard. With her usual precision and sensitivity to dynamics and tempo, Namekawa started with the Sonatina No.3 in G-clef by Mozart Camargo Guarnieri, the mid-twentieth-century Brazilian composer known mainly for operas and symphonies. Namekawa, who has become a champion of Glass’s highly personal and easily identifiable style, offered a series of small-scale works, no more than 10 minutes each, to deftly set up Glass’s 30-minute piece. Pianist Maki Namekawa, who debuted the work last year at the Piano Festival Ruhr in Germany, preceded the Philip Glass sonata with music by other composers stepping outside their usual boundaries without losing whatever it is that makes them who they are. This video performance, made in Vienna and first presented by UCLA’s Center for the Art of Performance ( click here), constituted the West Coast premiere. There’s something touching about a man in his ninth decade of life writing his first piano sonata, especially when it reveals a level of intimacy and gentleness unexpected from a composer known for expansive musical gestures. György Ligeti – Musica ricercata 1, 3, 5, 6, 8 Mozart Camargo Guarnieri – Sonatina No.3 in G-clef Austria Various – Maki Namekawa (piano): Prerecorded live at Ars Electronica, Linz, Austria, and video streamed by the Center for the Art of Performance at the University of California, Los Angeles,.
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