Reviews
The Bottazzi School of Music
Student Concert at Weill Recital Hall at Carnegie Hall
Friday June 18th, 2010 at 7:00PM
The Bottazzi School of Music has had a long standing relationship with Carnegie Hall. Since its inception, they have had their yearly concerts in the Weill Recital Hall with great success and this year was no different. In this evening’s concert (the first of three), I was extremely pleased with the variety of performances and the high level of achievement of the school and of its students.
The first and youngest performer of the evening was Sean Lynch (5) who played Arabesque by Burgmuller. To play such a piece at this age is quite a feat and Sean played with great poise and an excellent memory.
Ana Laura Sanchez (8) played the Waltz Op. 12 No. 2 by Grieg with a graceful confidence and a warm tone. Her changes of mode were clear and nicely supported by her confident left hand. Stella Sanchez (8) played the Dussek Sonatina with wonderful shapes and great clarity. The balance between the hands was exquisite and helped engage the listener fully. Next was Felipe Rojas (7) who played Le Petite Negre by Debussy. This charming piece was full of character and was played with a fine sense of the dance rhythm.
Romina Bartoli (9) had a beautiful singing tone in the Sonatina by Diabelli Op. 151and was played with a good sense of simplicity. Penelope Saenz (9) exhibited good fluidity in the Sonatina in G Major by Benda but could have used a firmer tone to make her sound more direct. Elizabeth Ilagan (12) played the Clementi Sonatina Op. 36 No. 2 with great vigor but it was unfortunately completely covered with the pedal. A clearer sense of pulse and coordination with the pedal would have elevated this performance to an even higher level.
Pippa Elizabeth Leigh (12) gave us a very polite rendition of the Bach Polonaise in G minor and played with a great sense of counterpoint, though it could have used a bit more rhythmic energy. The Aragonaise by Massenet was played with very smooth lines and fluid approach by Stephanie Quezada (12). Her understanding of the piece made for a very picturesque performance. Sarin Dutt (14) played Haydn’s Allegro in F Major with an impressive and direct character. He played with tons of energy and clarity. Barvo, Sarin!
Victor Bellutta (11) played Rondo Alla Turca by Burgmuller next. His rendering was powerful and well balanced but could have used even more contrast between the sections. Varvara Soyfer (7) gave us a very special performance of the Etude Op. 72 No. 6 by Krenek. Her awareness of the disjunct melodies and complex harmonies was extremely compelling. She played with great command of the instrument and commitment to her musical ideas. Bravo, Varvara!
Caitlyn Kim (10) played Mozart’s Allegro with lovely shapes and lines; however it could have used more energy and a more even tempo to have a greater impact. Dennis Lin (11) played the Aragonaise by Massenet with a great sense of the drama. It had a wonderful lilt and excellent dynamic shading. His intense listening really carried us through its journey with lots of energy. Natalie Lee (11) was next with Chopin’s Waltz Op. 64 No. 2. This very sensitive and warm depiction of the waltz had a sweet character. Following her was Bryant Born (13) who played a Polonaise in A Major by Chopin. He played with a brilliant martial energy but it sometimes became a bit heavy. Souvenirs D’Andalousie by Gottschalk was next, played by Catherine Lynch (13). Her sparkly touch made for a very bright and flamboyant performance of this piece with much Spanish flavor. Her variety in the touch and dynamics avoided the dangerous trap of monotony in a repetitive piece. Congrats!
The second half of the program began with Jack Lynch (12) playing Rachmaninoff’s Prelude Op. 32 No. 12. This romantic masterpiece is dramatic and poetic and Jack overcame its technical and musical difficulties wonderfully. Madeline O’Reilly (11) played the Toccata by Khachaturian with great confidence and breadth. Her understanding of growth of the piece propelled it forward creating a stirring result. Sabrina Gamboa (15) was next with Haydn’s G Major Sonata. She demonstrated her technical command with the clarity in her touch and her musical intellect by expressing the polarities of the sonata form with authority.
The Flight of the Bumblebee by Rimsky-Korsakov was played by Karen Gavica (16). Her rapid and clear fingertips made for a charming and vivid performance of this classic. William Matalene (17) played Debussy’s Claire de Lune very sensitively and with great delicacy. His pedaling created wonderful sonorities apropos to this colorful work. Sara Lynch (15) changed the pace with Gottschalk’s Savane. The pacing in this piece with progressive variation held it together quite well and her changes in character added variety to a theme heard many times throughout the piece.
Aaron Lee (16) was next with the Revolutionary Etude by Chopin. This exciting work had a powerful opening but lacked precision in the dotted rhythm which made it a bit loose rhythmically; it was otherwise handled with great control. Silvia Kim (19) played the Sonata in g minor Op. 22 by Robert Schumann with a good flow, however, the inner rhythms were quite undifferentiated and lacked the power it needed to make a real statement. Dustin Lee (8) played Papillon by Lavallee with great security and wonderful colors.
Michael Cuozzo (22) gave us a brawny account of the Rondo a Capriccio, Op. 129 by Beethoven nicknamed “Rage over a Lost Penny”. There was variety within the different sections and a great deal of energy in the touch. Good work! Daniel Chacon (22) then played the First Ginastera Sonata with great orchestral colors. This motoric work was held together well but sometimes was rushed through. The rhythmic impulses were somewhat timid but the power of the piece still came through. Susan Walton’s Polonaise Op. 53 was next and she played it with a wonderful attention to nuance and a poetic sensitivity. The powerful sections were exciting and ended in an outburst from the audience. Bravo!
The final performer was Steven Max who has been with the school for quite a while and who is furthering his studies in college. This final performance of Mephisto Waltz by Liszt was exciting and thrilling. The virtuosic sections were played with facility and expertise and the lyrical sections were moving. This awesome performance was the perfect way to end an evening of wonderful musicianship.
Congratulations to all the performers!
The concert concluded with an awards ceremony acknowledging the hard work of the students and teachers.
-Walter F. Aparicio
The Bottazzi Music School
Student Concert at Weill Recital Hall at Carnegie Hall
Saturday June 19th, 2010 at 1:30PM
It is with great pleasure that I had the opportunity to attend the 2010 Bottazzi Music School Student Recitals at Weill Recital Hall at Carnegie Hall. The exemplary performances made evident why this school has been at the forefront of artistic achievement.
From the first two performers, the high standards of the Bottazzi Music School became clear. At such a young age, Claire Leng and Lia Harter (6) offered poised performances. Ms. Leng seemed like a fearless young professional with her command of the whole keyboard, solid rhythmic impulses and excellent use of pedal. Lia Harter’s confidence was reflected in a brilliant Spider Dance that was followed by a simple song-like delivery of Thompson’s China Doll.
Andy Simeone (7) enlivened the audience with a powerful performance. The fast tempo of the Arabesque was sustained in the left hand through the challenging middle section. In Little Navajo, Mr. Simeone took great care to bring out the melody in different registers while maintaining strong metric accents in the left hand. This was followed by a performance of Kabalevsky’s Toccatina by Winnie Ip Deng (8). The flawless performance was distinguished by exceptional subtleties in nuance and a wide range of dynamic shading.
Alejandro Arroyo’s (9) great technique were presented in the quirky In the Circus. Mr. Arroyo’s young talent showed a command of the piano’s extended range in his delivery of a lively performance that he and the audience seemed to enjoy. He was followed by 9-year-old Andrea Crewe who offered a fine mix of the lyrical and rhythmic in Ellmenreich’s Spinning Song.
A poised Paulina Piedra (10) offered a beautiful sound in Pieza by Litovko. She was able to bring out the long phrasing of the melodic line, while also providing subtle shading driven by the harmonies of the piece. Sebastien Piedra (11) gave a professional performance full of variety. The ostinato cross-accents were treated with great care giving way to a lyrical section made beautiful by the use of appropriate rubato, all punctuated by elegant transitions.
Manuela Cornick’s (10) Little Dancer showed her gracefulness as a pianist. The delicate ornaments and polished phrases infused the music with a simple innocence reminiscent of a Degas painting. In contrast, Michael Colombos (8) showed a powerhouse of piano playing in his interpretation of Spinning Song. Sharp rhythms of the opening section gave way to a middle section full of generous rubato.
Sophia Tashjian (9) was able to not only sustain the difficult balance of the Burgmuller Ballade, but also follow the lyrical right hand melody of the middle section, all the while delivering the piece with pointed accents and echo effects. The unpretentious performance by 10-year old Kathrine Godfried allowed the music of Lichner to be delivered with a certain child-like innocence that impressed the audience.
Of particular interest was the young Lynn Gong (9), who seemed not only at ease on stage, but professional in stage presence and performance. Each variation’s character was clear and varied, and the classical question and answer phrasing was refined and elegant. It is obvious that Ms. Gong feels the music on a deep level and she delivered her piece with subtleties of performers well beyond her years. Caroline Tully (11) followed with a performance of CPE Bach’s Solfeggietto. Her command of the piece was evident by her powerful contrasts and the seamless passage of lines between the hands. Vincent Caliendo (11) transported the audience to Broadway with his impassioned performance of Phantom of the Opera. He captured the dark character of the piece excellently, making it clear that he has an affinity for this type of music.
Robert Godfried (14) showed proficiency on both the piano in Durand’s Valse but also in his dazzling performance on saxophone to close the first half. His piano performance was full of strong dance impulses and a rounded tone. On saxophone, he seamlessly worked through registers from the improvisatory opening to the fast finger-work of the Caprice. In Rondo Alla Turca by Mozart, Elizabeth Tully (11) capitalized on the ostinato left-hand and brilliant flourishes of the right hand to bring out the Turkish flavor of the piece. She was followed by six-year-old Kristin Yung who is as talented as she is adorable. Though she is of a young age, she rose to the challenge of the Mozart C Major Sonata with technical ease, rhythmic security, and dynamic shading.
It was a great choice for Angelique Simeone (11) to start the second half. The energetic performance captured the audience at once. She handled not only the technical challenges of Rondo Alla Turca well, but also offered the audience a broad dynamic range. Laura Ferraris (10) followed with a charming Austrian Song. Her effortless scales and song-like melody were complimented by her projected tone. She was followed by eleven-year-old Linda Yenicag who’s extremely solid performance of Rondo Alla Turca showed a great sense of tempo and balance and with a variety of articulation.
The Allegro to Mozart Sonata K. 545 was performed with great understanding of the classical ideal by Bradford Phelps (10). The simplicity of the alberti bass was complimented by the dramatic changes of mode – a very distinguished performance. Matthew Tseng’s (10) delivery of the themes of Liszt’s most famous Hungarian Rhapsody No. 2 showed a great flair for the gypsy melodies. From a dramatic introduction, we were taken through the slow dirge of a subdued Lassan, and ushered into an enlivened Friska. The performance concluded with a brilliant coda.
The Chopin Waltz in C-Sharp Minor, Op. 64 No. 2 has been a long standing favorite among concert-goers. Zachery Leng (9) presented a mature interpretation with a clear sense of the character of each section. The phrasing in the middle section was a bit lacking, but this was bookended nicely by secure playing in the opening and closing sections. Tara Ferraris (13) also delivered a Chopin performance. She was able to produce a big sound in the Military Polonaise. The polonaise rhythm was kept brilliant and at a stately tempo. At times the articulation called for a bit more clarity, but her powerful interpretation dazzled the audience nonetheless.
James Sinigalliano (9) was able to transform an old favorite with his technically commanding performance of the Durand Valse. Not allowing the technical difficulties of the piece to faze him, his subtleties of the waltz rhythm and excellent use of rubato provided a Viennese character that was punctuated by a quick tempo and brilliant articulation. Allison Ferraris (14) gave us a return to Chopin with a charged performance of the Waltz, Op. 69 No. 2. The opening sound and character combined with her understanding of Chopin rubato gave the theme a lovely nostalgic quality that perhaps could have been sustained throughout the piece. For this reviewer’s taste, there could have been cleaner pedaling at times, but there are no doubts that she performed with elegance and refinement.
Vincent Bianco performed a brilliant rendition of Papillon by Lavalee. The incredible technical challenges were not evident as he shaped the fast passagework on both a large and small scale. Where the tendency lies to cover the difficulties with pedal, Mr. Bianco’s sparse use allowed the audience to hear all the notes along with the left hand chordal punctuations. Pacing with this piece becomes very important as the greatest brilliance must be reserved for the final arpeggios but perhaps in not over-playing, as Mr. Bianco had done nicely, one could be reminded of the old-world performers and the way they could amaze the crowd through their extreme pianissimos.
Closing the program was eighteen-year-old Kate Stack in her first of two farewell performances that day. In learning that Ms. Stack has been with the school since the age of five, it is no wonder why the school has the reputation it does. The professional quality of her performance was enough to attest to her great accomplishments. The Great Gate of Kiev, the final movement of Mussorgsky’s Pictures at an Exhibition, is a work that has been in much debate. Given Mussorgsky’s lack of professional training, his writing at times can be unpianistic. This movement, especially, is famous for the extreme fortissimos he calls for when writing very thin textures. The other difficulty with this movement is that it must grow in sound to provide for an effective culmination to the 40 minute work. Ms. Stack dealt with these challenges with great reservation. She did not give in to the too-easy habit of banging the movement, but instead reached for a lyrical quality to hold the piece together. In this way, her expert phrasing - especially difficult in the chordal melodies - brought us through the movement while allowing her room to continue growing in sound. Her orchestral use of the piano not only recalls Ravel’s arrangement of the work, but also makes clear her exceptional pianism. Congratulations to Ms. Stack, and best of luck in her future endeavors.
The concert concluded with an awards ceremony acknowledging the hard work of the students and teachers.
This reviewer was honored to be witness to this concert.
Bravo to you all!
-Daniela Bracchi
The Bottazzi School of Music
Student Concert at Weill Recital Hall at Carnegie Hall
Saturday June 19th, 2010 at 8:30PM
This evening’s program was the last of three end of year concerts organized by The Bottazzi School of Music in Weill Hall at Carnegie Hall. Because of the school’s stellar reputation, I was sure to be in for an evening of music making of the highest quality.
The concert began with Pamela Beine (11) who opened the program with Waltz by Clementi. Her varied dynamics and bright touch made for a graceful and sincere depiction of the piece. Priscilla Yuan (12) played the posthumous Chopin Waltz in a minor with a very melancholy character. She exploited the wide range used in this piece followed the sinuous lines of the melody with great care. Her use of agogic rubato was wonderful. Nadia Sbuttoni (10) followed with another Valse, this time by Durand. She began with a firm, announcing tone. Her long lines really made the audience listen and her changes of character within the piece were vivid.
Chopin’s Waltz Op. 64 No. 2 was next on the program played by Austin Kulka (12). He played in a very shapely manner, following the expressive half steps and the sonority of the left hand bass notes. His orchestral colors were dramatic and his ending had much flair. Aufshwung (translated to lift or uplift ) by Robert Schumann was next. This passionate piece which portrays Schumann’s Florestan character was played by Mario Jimenez (18). Mario captured the beauty of the duet between the hands but could have used more rhythmic impulse to exhibit the fiery character of the piece.
Eduardo Montero (18) then played Rondo a Capriccio, Op. 129 by Beethoven. This piece nicknamed “Rage Over a Lost Penny” was brilliant, full of character, and had much energy within the fast moving shapes. Eduardo’s understanding of the organic progressive variation was apparent and he played the piece with a fluid and natural technique. “Like Someone In Love” by Van Heusen –Andron was played by Andrew Andron (12). Andron’s arrangement of this piece was charming. His choice of chords gave it a rich, bluesy character. Andron played with a very natural sense of flow and rhythm which gave the piece life and made the listener feel at ease. Great work!
Chopin’s Waltz Op. 18 was next played by William Stiger(20). His attention while performing was very clear and his stage presence was very professional. The piece had many beautiful colors. Irene Alfaro (18) played the Sonata Op. 197 No. 4 by Alfaguell. This rarely played piece was dramatic and sonorous in its opening. Irene played with great command and her use of registers was very vivid. Her smooth glissandi were a beautiful contrast to the impressive clusters. Bravo Irene. To contrast this austere piece was Chopin’s Ballade Op. 47 played by David Ugalde (19). His elegant opening really set the pace for this extraordinary work. David played with a real sense of the long term harmonic goal and had long luscious lines. Though sometimes his sound was timid, the beauty of his work really shone through.
The second half of the program began with Jessica Yee (11) who played Beethoven’s Presto na non troppo from the “Moonlight” Sonata. Jessica really captured the drama in this piece by her rising bass line and the incessant sixteenth note rhythm. This rhythmic pressure cooker then later exploded into an outburst which made for a very exciting performance. Tiffany Liang (14) contrasted this excitement with her interpretation of the melancholy June by Tchaikovsky. Tiffany played with great feeling and her singing melodies soared while still delineating the different textures of the piece. Bravo !
Andy Wang (13) played Chopin’s Berceuse with great attention and made the audience listen to every note. His natural ability at the instrument gave him freedom to float and enjoy his own performance. His sensitive touch created a sparkling leggiero suitable for this calm character of this piece. Luis Esteban Herrera (18) also had a sparkling touch in his Etude Op. 72 No. 6 by Moskowski. This fast moving piece had superb dynamic shading and shape. The fluidity was excellent and Luis Esteban played it with a grand and solid technique.
Colleen Stack (15) played the last movement of the “Appassionata” Sonata Op. 57 by Beethoven with a great intensity of tone and momentum. Her performance was dramatic and the coda was particularly exiting! Jessica George (14) played the Liszt Rhapsody No. 11 with a wonderful sense of the character of the piece. The gypsy elements and the improvisatory quality really came through and the dance aspect was energetic.
Nicolas Giacalone (14) was next with the Tarantella by Liszt from Venezia and Napoli. Nicolas played this virtuosic piece with a brilliant technique and a wonderful facility. The repeated notes were fabulously light and airy. The middle section was poetic and sang beautifully. Excellent job, Nicolas! Giuseppe Gil (18) played the Prokofiev Toccata with an unrelenting energy. The pacing was well timed and the inner shapes of the lines were clearly delineated. The sarcasm of the piece really shone through and the final build up was quite exhilarating!
Lastly, Kate Stack (18) who had been with the school for many years closed the concert with the well known Great Gates of Kiev by Mussorgsky from Pictures at an Exhibition. This piece is the climax of a longer work has its challenges and Kate handled them with great care. Her tone was beautiful and the voicing in her chords was very exact. The orchestral quality of the piece really came through and the massiveness of the piece was very moving. Kate played with great sensitivity.
Congratulations to all the performers!
The concert concluded with an awards ceremony acknowledging the hard work of the students and teachers.
-Walter F. Aparicio