On Nov. 13, the 35-year-old Uzbekistani pianist Behzod Abduraimov delivered a demanding and commanding performance of four works for piano at Walt Disney Concert Hall.
The two major works on the program — Pictures at an Exhibition by Mussorgsky and Ten Pieces for Piano from Romeo and Juliet, Op. 75 by Prokofiev, both masterpieces — are related in an interesting way. Pictures was originally composed as a work for solo piano but is perhaps best known in its orchestral version by Maurice Ravel. Prokofiev originally composed an orchestral score for a ballet production of Romeo and Juliet, which was never realized. So, he fashioned two suites for orchestra. Only later did he arrange the Ten Pieces for Piano based on the score.
Abduraimov began the recital with the Prelude, Fugue and Variation, Op. 18, originally composed for organ by César Franck, in an arrangement for piano (by Harold Bauer). It was a deceptively solemn and contemplative opening in what turned out to be a much more rousing recital. But Abduraimov set the mood with a deliberate and very controlled interpretation. With the great WDCH organ in the background, one wondered what it would have sounded like played on that.
Abduraimov closed out the first half with Pictures at an Exhibition. The story of Mussorgsky composing Picturesfollowing the death of his close friend, Russian painter Viktor Hartman, is well known. Mussorgsky’s work portrays someone strolling through the gallery of the memorial exhibition of over 400 artworks. Mussorgsky’s work musically depicts six of the artworks linked together with the famous promenade theme and variations upon it.
Abduraimov was quoted in the program notes as saying, “What is great about this music is that Mussorgsky gives a lot of freedom to the performer to interpret.” And Abduraimov took advantage of that freedom in a stellar and captivating performance. One couldn’t help but think that he was expressing his relationship to the Russian music because of his own upbringing in Uzbekistan. Abduraimov’s use of rubato and his incredible dynamic range resulted in a uniquely individualistic rendition that was spellbinding.
Abduraimov began the second half of the concert with the Fantasie nègre No. 1 in E minor by Florence Price. Price’s music has undergone a much-deserved resurgence in recent years with a host of symphonic works performed and recorded. But she began her composing career with works for piano, in particular, the Fantasie nègre. This is a showpiece combining themes from the spiritual “Sinner, Please Don’t Let This Harvest Pass,” with the Romantic styles of Chopin and Brahms. The result is a tour de force for piano. And Abduraimov went to town with it, with fingers flying over the keyboard. As the opening piece to the second half of the recital, the Fantasie was the antithesis of the Franck that opened the first half.
Abduraimov closed the concert with the Ten Pieces for Piano from Romeo and Juliet. Once again, he took liberties as he did in Pictures and gave a commanding performance. Abduraimov was equally adept at the heavy and ponderous “Montagues and Capulets,” the tranquil “Friar Laurence” and the sweet “Romeo and Juliet Before Parting” that ends the ballet. Also, unlike the resounding ending of Pictures, the Prokofiev ends quietly and almost imperceptibly.
Although the audience at WDCH was unfortunately quite small, they were nonetheless very enthusiastic and passionate in their feelings for the young Abduraimov’s playing. The applause and cheers grew steadily after each piece, with one audience member yelling out “amazing” after the Fantasie nègre.
Abduraimov rewarded the audience’s appreciation with two encores, the Prelude, Op. 32 No. 5 in G major (Moderato) by Rachmaninoff and an out-of-this-world performance of Liszt’s Paganini Etude: Allegretto (La campanella) in G-sharp minor, S. 141 No. 3.
If you ever have the chance to see (and hear) Behzod Abduraimov, don’t miss it!
—Henry Schlinger, Culture Spot LA
For information about upcoming concerts at Disney Hall, visit www.laphil.com.
Photo of Behzod Abduraimov courtesy of the LA Phil