November 10, 2024
Spivey Hall
Morrow, GA – USA
Michelle Cann, piano.
Frédéric CHOPIN: Ballade No. 3 in A-flat Major, Op. 47
Joel THOMPSON: My Dungeon Shook: Three American Preludes
Alberto GINASTERA: Piano Sonata No. 1, Op. 22
Florence PRICE: Piano Sonata in E Minor
Franz LISZT: Mephisto Waltz No. 1, S. 514
Mark Gresham | 15 NOV 2024
Making her Spivey Hall debut this past Sunday, pianist Michelle Cann delivered a captivating performance in a solo recital that showcased both technical brilliance and emotional depth. Cann’s program was an intriguing mix, bookended by mainstay showpieces from the classical piano canon, with lesser-known works by underrepresented composers in between.
Cann opened the program with Frédéric Chopin’s Ballade No. 3 in A-flat Major, Op. 47, immediately set a high standard for the evening. Known for its lyrical complexity and virtuosic demands, the Ballade requires a delicate balance between precision and expressiveness. Cann navigated the work’s sweeping emotional landscape with poise and a substantial expressive touch. Particularly in the more reflective sections, Cann’s phrasing was sensitive and compelling, with masterful shifts between moments of tension and tenderness, leading up to a secure and emotionally charged conclusion.
The program took a distinct turn with Joel Thompson’s My Dungeon Shook: Three American Preludes. Conspicuously, none of the titles of the Preludes are in English, and given the composert’s musical activism, that surely was purposeful. The first, Totentanz (“Dance of Death”), is German and opens with a grim, frenzied waltz that culminates in a sharp, violent gunshot. Lacrimosa (literally, “tearful”) is Latin and is cast as a mournful lament, echoing the preceding chaos. Finally, L’homme agenouillé (“The kneeling man”) is French and offers somber variations on The Star-Spangled Banner, reflecting ambivalence toward the American dream, with moments of anger giving way to quiet reflection, eventually fading into silence. Cann gave each Prelude a sense of urgency and weight, using the piano’s full dynamic range to amplify the music’s emotional power.
Cann then shifted gears with Alberto Ginastera’s Piano Sonata No. 1, Op. 22, a piece known for its fierce energy and dissonant harmonies. Cann demonstrated her virtuosity in this technically demanding work, which blends Argentine folk elements with intense modernist dissonance. The first movement, “Allegro,” crackled with rhythmic drive and raw energy, while the “Adagio” movement allowed for moments of introspection. The “Presto” finale was a whirlwind of virtuosic passages, with Cann’s fingers racing across the keyboard with remarkable agility, executing the piece’s sharp contrasts and rhythmic complexity with precision.
One of the most significant moments of the evening was Cann’s performance of Florence Price’s Piano Sonata in E Minor. While well-known during the height of her career as a composer, her works later suffered a period of neglect though they have gained increasing attention in recent years. Cann’s interpretation of the Sonata, written in 1932, illuminated its unique blend of classical structure and African-American musical elements. Its rich harmonic language, including modal and pentatonic passages, came to life under Cann’s hands.
The first movement, “Allegro,” had an energetic, syncopated rhythm that felt joyful and grounded, while the second movement, “Andante con moto,” was imbued with a deep, soulful melancholy. The “Allegro” finale was full of rhythmic vitality and unpredictability, with Cann bringing out the playfulness and exuberance of Price’s writing. This performance underscored the growing recognition of Price’s legacy as a pioneering African-American composer and added a layer of historical context to the evening’s program.
The concert closed with Franz Liszt’s Mephisto Waltz No. 1, S. 514, a technically demanding and emotionally charged work. Based on the legend of Faust, it is filled with dramatic contrasts and virtuosic challenges. Even at an exceptionally speedy tempo, Cann approached the piece with an impressive technical facility in executing the rapid runs, complex trills, and thunderous climaxes. The waltz’s swirling patterns and fiery tempo were paired with moments of stark lyrical beauty. Cann’s interpretation captured both the devilish playfulness and the work’s darker, more foreboding aspects.
As an extended encore, Cann delighted the audience with a performance of Hazel Scott’s jazzy arrangement of Brahms’ Hungarian Dance No. 2.
In an era when diversity in classical music programming is taking more of a front-seat role than ever, Michelle Cann’s concert at Spivey Hall served as an important artistic statement about the power of music to challenge, inspire, and move us. ■
EXTERNAL LINKS:
- Michelle Cann: michellecann.com
- Spivey Hall: spiveyhall.org
Read more by Mark Gresham.
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