CONCERT REVIEW: Khoma and Vynnytsky at Weill Recital Hall (06/30/02)

CONCERT REVIEW: Khoma and Vynnytsky at Weill Recital Hall

by Bohdan Markiw

Two noted Ukrainian musical artists, cellist Natalia Khoma and pianist Volodymyr Vynnytsky performed in a concert-recital in Carnegie Hall's Weill Recital Hall on Wednesday evening, May 29. Both artists are well-known, especially to Ukrainian audiences, especially for their performance in the "Music at the Institute" series of concerts held at the Ukrainian Institute of America in New York City.

Ms. Khoma opened the program with a rendition of Beethoven's Variations in E Flat Major on "Bei Männern, welche Liebe Fühlen" from Mozart's "Magic Flute." The performance of the piece's short phrases, which tend to express the sighs of a man in love, was superbly done. Ms. Khoma has an affinity toward elegant feelings, and tackles matters of the heart with charming tenderness and understanding.

Beethoven's famous Sonata in A Major, Op 69, followed, in which Ms. Khoma showed an impressive command of tone and color, as well as in her dynamic range from extreme pianissimos to resounding forte of a beautiful quality. In this performance she pushed the tempo to its limits, but due to her perfect articulation, the runs were clear and crisp without losing the velvety sound of the cello; the transfer of phases between cello and piano were seamless.

Following the intermission, Ms. Khoma and Mr. Vynnytsky performed Dmitry Shostakovich's Sonata in D Minor, Op. 40. One should note that this recital structure followed a new trend in programming in that the setting of the sonatas of these two major composers, Beethoven and Shostakovich, represents consecutive centuries. This trend to select these composers was set by Kurt Masur, the just retired conductor of the New York Philharmonic Orchestra, and adopted by the Emerson String Quartet.

Many rich resonances came from emphatic strokes in the Shostakovich, marked by its strong expression of feeling.

Ms. Khoma, in her playing, brought signs of grotesque elements which surface here and in many of his compositions. Her playing was superbly in tune with all the difficult stops and roulades of harmonics. (In one instant the cello lost floor support, but Ms. Khoma did not lose control and kept playing with a swaying instrument for a brief period.)

The audience was delighted with the next number, which was the New York premiere of "Lost Tango" composed by pianist Volodymyr Vynnytsky. The composition was commissioned by the Greene County Council on the Arts to commemorate the 150th anniversary of the founding of the town of Jewett in upstate New York. The piece in its concept is rather extensive. The cello line provides a delicate melody with dry piano accompaniment, but several interludes in the piano part consist of a powerful elaborated refrain played by the composer-pianist with volcanic force.

The concluding part of the formal recital consisted of the works of Spanish composers, Enrique Granados" "Intermezzo" and Gaspar Cassadó's "Requiebros." In both renditions, Ms. Khoma played with a warm understanding of the exotic colors of that country. Mr. Vynnytsky provided the appropriate accompaniment, complementing the delightful playing of the cellist.

The audience that filled the recital hall gave the performers a sustained standing ovation at the conclusion of the concert, which resulted in Ms. Khoma and Mr. Vynnytsky, in turn, rewarding them with two encores.

| Home Page |