Word: rzewski
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...final variation. The theme itself is not stated anywhere in the piece, and one catches only a few glimpses of it throughout--an occasional dominant seventh chord, or the five-note descending scale that concludes each half of the Beethoven movement. Rather than indulging in much direct quotation, Rzewski's variations preserve certain abstract qualities of the original. Beethoven's registral disjuncture, for example, is taken to extremes, and the thick, closed chords of the theme, which derive much tension from the interval of the second, are the source for the predominance of that interval in Rzewski's cluster accompaniments...
After 13 variations evoking in turn Bach, George Winston and Liszt, Rzewski plunged from a protracted Beethovenian trill into a truly staggering display of improvised fire-works for his cadenza. In a few minutes Rzewski demonstrated his command of Harlem stride bass, cartoonish sound effects, and Chopinesque fabric melody, while referring back to Beethoven just often enough to excuse his departures. The conclusion was a gradual rise from the lowest D-flat (tonic for the Beethoven) to the highest note on the keyboard, which was repeated more and more softly and less and less frequently until after a long rest...
...Profundis" (1991), which Rzewski performed next, is a setting of eight paragraphs from a letter written in prison by Oscar Wilde; the pianist reads aloud and plays simultaneously. The text is an earnest and profound metaphysical meditation which Rzewski subjected to an affected, overinflected reading and interspersed with voiced breathing and noises of laughter and singing that bordered on the maniacal. Rzewski accompanied one passage by slapping himself and drumming his fingers on the closed piano lid, another (about the imperfections of governments) with the squeaking of a toy horn. In these instances the effect was derisive, whatever the intention...
...Around the Rosy," "Santa Claus Is Coming to Town," "L Homme Arme," "Johnny I Hardly Knew Ye," "Give Peace A Chance" and "Three Blind Mice." This pluralism offered much potential for humor and for keeping listeners in constant anticipation, but it finally resulted in a disturbing lack of coherence. Rzewski has a tendency to encapsulate when he composes, not maintaining any particular texture, motive, or even mood long enough to establish it firmly. When he is not working within a structure that inherently supplies unity--such as his favored variation form--the thread of his musical argument can become obscured...
...Frederic Rzewski has one of the most uninhibitedly creative musical minds around, and he is a spectacular pianist. The three pieces heard Sunday were more than sufficient indication of this, providing their audience with an experience not likely to be soon forgotten...