Recently I heard the Brahms Piano Sonata #3 in f minor, Op. 5 twice in the same week. The contrast between the two performances and between the general atmosphere in the two concert halls could not have been more stark.
On Wed. Jan 30, 2013 Yefim Bronfman led off with the Brahms Sonata in his recital at Disney Hall. At the end of the first movement someone in the Orchestra section of the already restive audience broke into a coughing fit. Bronfman paused for a moment without looking up from the piano but then turned towards the audience when the coughing did not stop. The audience misread Bronfman’s gesture as a “pause for applause” and delivered a response that was widespread but desultory. This pattern of unenthusiastic applause repeated itself after every inner movement even though Bronfman never again looked up from the piano. I thought the audience should have expressed a lack of enthusiasm at the end of the piece also, as such a response would have been more in keeping with Bronfman’s thoroughly perfunctory performance, but the technically formidable last movement inspired the predictable outburst.
Two days later I heard John Perry, Professor of Piano at the Colburn Conservatory of Music and also at USC’s Thornton School of Music, play the same Brahms Sonata in a Faculty Recital in Zipper Hall at the Colburn School, diagonally across the street from Disney Hall.
Everything about this recital was inspiring. The audience included many past and present students of Prof. Perry, faculty members from the Colburn School, and music teachers from all over Los Angeles. The audience was wildly enthusiastic, particularly at the end of the concert, when they only grudgingly let Prof. Perry make his final exit. Between the movements of each piece – silence – which I take as an endorsement of what the performers in the audience would want for their own recitals. Prof. Perry played the Brahms with a rare combination of musicality and insight; the Andante espressivo was model of balance between patience, as he generously let the sonorities sink in, and forward motion.
It’s hard for me to confine myself to the Brahms. It was a privilege to hear Prof. Perry play Ondine from Ravel’s Gaspard de la nuit as an encore. As a technical display this piece can be quite boring; in Prof. Perry’s hands Ravel’s imagination for sound and structure came alive.
This memorable concert is another example of the excellent music making that can be heard in Los Angeles outside of the major venues. I have already mentioned the Southern California Junior Bach Festival in another post. I would also recommend the Events calendar of the Colburn School at www.colburnschool.edu; in addition to the Faculty Recitals they offer an excellent Chamber Music Series as well as other concerts throughout the year.