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ARTIST SOARS PAST TOUR DE FORCE
George Warren
Fresno Bee
September 23, 2008 Tuesday
California
Babayan takes music to hearts of his audience.
Pianist Sergei Babayan has nothing to prove to his fans in Fresno. He's
been here many times before and has shown extreme range of emotion,
total command of the keyboard, and a musical vision that goes well
beyond the idea of mere entertainment.
Babayan drew a full house to the Concert Hall at California State
University, Fresno, Sunday to open the season of the Philip Lorenz
Memorial Keyboard Concert series. The CSUF Armenian Studies Program
co-sponsored the recital.
Rather than putting on a tour-de-force of pianism as he has in the
past, Babayan brought a program that focused on the spiritually
expressive potential of his instrument. Opening with "Fur Alina"
by Arvo Part is an unusual way to draw in an audience. This music is
quiet and slow, and the harmony changes little throughout the brief
span of the composition.
In the hands of Babayan, what might be just a few notes turns into
a timeless experience of speechless beauty. Babayan was in no hurry
to finish phrases or get on with the piece. He allowed space to
breathe, and he allowed time for notes to recede to silence. While
the composition might not be groundbreaking in terms of harmony and
rhythm, the singular feel of the music sets Part in his own camp of
living composers.
As the last notes faded, the audience sat spellbound. There would be
no applause here, the magic would have evaporated. After a moment of
complete silence, Babayan began Liszt's Ballade No. 2, the loudest and
most dynamically expressive music on the program. Babayan demonstrated
his understanding of the music by creating the wash of sound in the
background and then bringing the themes out front.
His demeanor here was not filled with excitement and energy. Instead,
he took the tone of presenting a sober moment of truth from Liszt's
oeuvre. This is no slouch of a piece of music, but the unfolding
harmony sounds like something Moses might have written were he
a composer.
Brahms' Theme and Variations in D Minor, an arrangement from his String
Sextet Op. 18, provided a brief diversion from the serious nature of
the program, and Babayan seemed to enjoy the rolling chords and various
treatments of the themes. He also delivered Liszt's passionate setting
of two Schubert songs with a clear eye on the meaning of the program.
The first half of the program ended with Schumann's Variations on a
Theme by Beethoven. The theme comes from Beethoven's Seventh Symphony,
and Schumann presents it unabridged the first time. Then Schumann's
imagination takes over, and while his development of the idea does
not match Beethoven's in immediate appeal, the growth of the idea
to the stunning and riveting summation transforms Beethoven's more
primitive musical constraints into seminal material for Arvo Part.
The end of the set matched the beginning, with Babayan unwinding
Schumann's melody and countermelody over an unchanging harmony. It
took a few seconds after the end for the audience to realize that it
was time to applaud.
The second half featured the Suite in A Minor of Jean-Philippe Rameau,
the great 17th-century theorist who wrote the book on tonal harmony
and sealed the modal system into its churchyard grave. While Rameau
the composer has not achieved the following of Bach or Vivaldi, his
music belongs in the same museum as the other Baroque masters. After
all, it was Rameau who put into words the argument for a functional
tonal system.
How this fits into a program of highly emotional music is
clear. Without the foundation of Rameau and the other Baroque
composers, the music of Part, Brahms, and Schumann would not have
been possible. Moreover, in the hands of Babayan, this "intellectual"
music of Rameau becomes as spiritually profound and expressive as
the other music on the program. Maybe it's not the era or the style,
maybe it's that some compositions more than others elevate the spirit
of the listener.
Certainly, when Babayan is the pianist, the music is going to reach
the heart of the audience.
George Warren, Ph.D., directs the music program at Hallmark Charter
School.
George Warren
Fresno Bee
September 23, 2008 Tuesday
California
Babayan takes music to hearts of his audience.
Pianist Sergei Babayan has nothing to prove to his fans in Fresno. He's
been here many times before and has shown extreme range of emotion,
total command of the keyboard, and a musical vision that goes well
beyond the idea of mere entertainment.
Babayan drew a full house to the Concert Hall at California State
University, Fresno, Sunday to open the season of the Philip Lorenz
Memorial Keyboard Concert series. The CSUF Armenian Studies Program
co-sponsored the recital.
Rather than putting on a tour-de-force of pianism as he has in the
past, Babayan brought a program that focused on the spiritually
expressive potential of his instrument. Opening with "Fur Alina"
by Arvo Part is an unusual way to draw in an audience. This music is
quiet and slow, and the harmony changes little throughout the brief
span of the composition.
In the hands of Babayan, what might be just a few notes turns into
a timeless experience of speechless beauty. Babayan was in no hurry
to finish phrases or get on with the piece. He allowed space to
breathe, and he allowed time for notes to recede to silence. While
the composition might not be groundbreaking in terms of harmony and
rhythm, the singular feel of the music sets Part in his own camp of
living composers.
As the last notes faded, the audience sat spellbound. There would be
no applause here, the magic would have evaporated. After a moment of
complete silence, Babayan began Liszt's Ballade No. 2, the loudest and
most dynamically expressive music on the program. Babayan demonstrated
his understanding of the music by creating the wash of sound in the
background and then bringing the themes out front.
His demeanor here was not filled with excitement and energy. Instead,
he took the tone of presenting a sober moment of truth from Liszt's
oeuvre. This is no slouch of a piece of music, but the unfolding
harmony sounds like something Moses might have written were he
a composer.
Brahms' Theme and Variations in D Minor, an arrangement from his String
Sextet Op. 18, provided a brief diversion from the serious nature of
the program, and Babayan seemed to enjoy the rolling chords and various
treatments of the themes. He also delivered Liszt's passionate setting
of two Schubert songs with a clear eye on the meaning of the program.
The first half of the program ended with Schumann's Variations on a
Theme by Beethoven. The theme comes from Beethoven's Seventh Symphony,
and Schumann presents it unabridged the first time. Then Schumann's
imagination takes over, and while his development of the idea does
not match Beethoven's in immediate appeal, the growth of the idea
to the stunning and riveting summation transforms Beethoven's more
primitive musical constraints into seminal material for Arvo Part.
The end of the set matched the beginning, with Babayan unwinding
Schumann's melody and countermelody over an unchanging harmony. It
took a few seconds after the end for the audience to realize that it
was time to applaud.
The second half featured the Suite in A Minor of Jean-Philippe Rameau,
the great 17th-century theorist who wrote the book on tonal harmony
and sealed the modal system into its churchyard grave. While Rameau
the composer has not achieved the following of Bach or Vivaldi, his
music belongs in the same museum as the other Baroque masters. After
all, it was Rameau who put into words the argument for a functional
tonal system.
How this fits into a program of highly emotional music is
clear. Without the foundation of Rameau and the other Baroque
composers, the music of Part, Brahms, and Schumann would not have
been possible. Moreover, in the hands of Babayan, this "intellectual"
music of Rameau becomes as spiritually profound and expressive as
the other music on the program. Maybe it's not the era or the style,
maybe it's that some compositions more than others elevate the spirit
of the listener.
Certainly, when Babayan is the pianist, the music is going to reach
the heart of the audience.
George Warren, Ph.D., directs the music program at Hallmark Charter
School.