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Music Review: The Philadelphia Inquirer

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  • Music Review: The Philadelphia Inquirer

    Pianist Arghamanyan focuses on her own links to composers in her appearance
    Philadelphia Inquirer
    Friday, October 26, 2012

    By Peter Dobrin, Inquirer Classical Music Critic


    Ghosts of performers past stand guard over standard repertoire, and it
    takes a ruthless individualist to wave then off. But Nareh Arghamanyan
    never seemed to consciously repudiate her predecessors in an
    extraordinarily charismatic Philadelphia Chamber Music Society
    appearance Wednesday night at the American Philosophical Society.
    Rather, it was as if the 23-year-old Armenian-born pianist had never
    encountered them at all, and was interested only in her own personal
    communions with Bach, Schumann, and Rachmaninoff.

    What this meant in the oft-played Fantasiestücke was the declaration
    of Schumann as a composer not completely of his contemporaries, but
    apart. That she underlined the two contradictory sides to the man
    referred to as the "prince of art" - the imaginary characters
    Florestan and Eusebius - was just the start. She had a direct line to
    the essence of each of the eight movements, consistently making the
    unobvious choice.

    Time signature and note values became casual advice in the first
    movement, "In the Evening," whose gauzy left hand against a crystalline
    right blended into a half-remembered summer twilight. Phrases ended in
    question marks, or at least ellipses. Frantic, sputtering, silent,
    thundering, the second movement managed to be volatile without growing
    overwrought. The third, "Why?" was an exercise in time suspension.
    The sense of grandeur in the last movement wasn't from the massing of
    sound other pianists use, but from regal pacing and the space she put
    around certain rhythms. By endowing the material with dignity,
    Arghamanyan preserved Schumann's own ambiguity over whether these are
    wedding bells or a death knell.

    The entire second half of the program was turned over to Rachmaninoff,
    whose Opus 33 Études-Tableaux (Nos. 1-6) was dominated by a stunning
    performance of the No. 6 in E Flat Major that highlighted, with
    scherzo-like touch, perhaps the composer's furthest outlier from
    traditional tonality. But the Variations on a Theme of Corelli, Opus
    42, told us more about Arghamanyan than any other piece on the program
    (which also included a wonderfully detailed account of Bach's Partita
    in C Minor, BWV 826). The theme is a short one (not actually written
    by Corelli), and manages to invoke a half dozen or so other
    Rachmaninoff works (a piano concerto, the Paganini variations), and so
    the piece was a window into Arghamanyan's approach through a wide
    swath of material. You could almost hear a cimbalom in the handling of
    a variation with Hungarian harmonies.

    Her extreme sensitivity to subtle voicings came through in
    Rachmaninoff's "Elégie in E Flat" from Morceaux de fantaisie, where
    the melody moved to the bass while the soprano turned pale. The extent
    of the player as a determining factor was even more evident in the
    "Prelude in C Sharp Minor" from the same piece. With the liberties
    taken by Arghamanyan, you might never have known how four-square those
    opening chords look on paper. And if the agitated storm in the middle
    section startled some, it struck me more as revelation than disregard
    for any

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