CONCERT REVIEW: Marina Piccinini and Benjamin Hochman @ the American Philosophical Society 11/5

Marina Piccinini Charismatic stage presence, stunning tonal beauty, and flawless technique As a professional flutist, I have attended hundreds of flute recitals over the years. The very best ones — James Galway in Budapest in 1995, Jeffrey Khaner with the Syrinx Trio at Curtis in 2001, and Christina Jennings in New Orleans in 2010 come to mind — combine virtuoso and lyrical flute playing, and diverse programming. Marina Piccinini's recital last Friday night at the American Philosophical Society hosted by the Philadelphia Chamber Music Society achieved all of that, but especially excelled in the quality of flute playing. Despite the venue's poor acoustics and accompanist Benjamin Hochman's occasional overpowering playing, Piccinini captivated the audience with her charismatic stage presence, stunning tonal beauty, and flawless technique. I know it's a great flute recital when I'm inspired to go back home and practice with new energy. Marina Piccinini is one of those unique performers who have a great talent for showing their audiences just how much they love their instruments. She keeps herself busy by teaching at Baltimore's Peabody Institute of Music, recording CDs regularly, and touring the world as a recitalist and pedagogue. Piccinini immediately got the audience's attention with the opening of Aaron Copland's Duo for Flute and Piano. The piece opens with a long, sinuous flute solo, which she shaped with impressively controlled vibrato—even turning the vibrato off at times—and a commanding dynamic range. Hochman accompanied with technical precision, yet often played too loudly for the flute lines to come through, especially with the piano lid all the way open. The Duo, in addition to another on the program, is closely linked to Philadelphia; students of legendary Philadelphia Orchestra flutist William Kincaid commissioned the work from Copland, and Elaine Shaffer premiered it in 1971 at Settlement Music School. Composer and Curtis faculty member David Ludwig, who was born in Pennsylvania soon after the Copland premiere, composed Canzoniere in 2010 on a commission from the Anthony P. Checchia Composers Project of the Philadelphia Chamber Music Society. Inspired by early-Baroque composer Claudio Monteverdi's music, Canzoniere presents a unique combination of tonality, dissonance, serene flowing phrases, and virtuoso writing for both flute and piano. Piccinini's world-premiere demonstrated Ludwig's talent, and we should look forward to him finding more of his own voice in the future. Both Felix Mendelssohn and Sergei Prokofiev wrote sonatas that are better known for violin, but Piccinini showed us just how well they work for flute. Mendelssohn composed his Sonata in F Minor, Op. 4, in 1825, when he was merely 16 years old. Piccinini's arrangement for flute sounded perfectly idiomatic for her instrument—now I can't imagine it any other way. Prokofiev's Flute Sonata in D Major, Op. 94 is part of the standard flute repertoire, as is Lowell Liebermann's Flute Sonata, Op. 23. Piccinini performed both with enthralling musicality, riveting virtuosity, and total command and obvious love of her instrument. Now I better get back to practicing! Upcoming PCMS concerts this month include the Juilliard Quartet on the 14th, violinist Midori on the 16th, and pianist Emanuel Ax on the 17th. See pcmsconcerts.org for more information. Eva Pierrou Posted 2010-11-08 14:41:45

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CONCERT REVIEW: Marina Piccinini and Benjamin Hochman @ the American Philosophical Society 11/5

POSTED: Monday, November 8, 2010, 4:57 PM

Filed Under: Music Concert Review

Marina Piccinini

Charismatic stage presence, stunning tonal beauty, and flawless technique As a professional flutist, I have attended hundreds of flute recitals over the years. The very best ones — James Galway in Budapest in 1995, Jeffrey Khaner with the Syrinx Trio at Curtis in 2001, and Christina Jennings in New Orleans in 2010 come to mind — combine virtuoso and lyrical flute playing, and diverse programming. Marina Piccinini's recital last Friday night at the American Philosophical Society hosted by the Philadelphia Chamber Music Society achieved all of that, but especially excelled in the quality of flute playing. Despite the venue's poor acoustics and accompanist Benjamin Hochman's occasional overpowering playing, Piccinini captivated the audience with her charismatic stage presence, stunning tonal beauty, and flawless technique. I know it's a great flute recital when I'm inspired to go back home and practice with new energy. Marina Piccinini is one of those unique performers who have a great talent for showing their audiences just how much they love their instruments. She keeps herself busy by teaching at Baltimore's Peabody Institute of Music, recording CDs regularly, and touring the world as a recitalist and pedagogue. Piccinini immediately got the audience's attention with the opening of Aaron Copland's Duo for Flute and Piano. The piece opens with a long, sinuous flute solo, which she shaped with impressively controlled vibrato—even turning the vibrato off at times—and a commanding dynamic range. Hochman accompanied with technical precision, yet often played too loudly for the flute lines to come through, especially with the piano lid all the way open. The Duo, in addition to another on the program, is closely linked to Philadelphia; students of legendary Philadelphia Orchestra flutist William Kincaid commissioned the work from Copland, and Elaine Shaffer premiered it in 1971 at Settlement Music School. Composer and Curtis faculty member David Ludwig, who was born in Pennsylvania soon after the Copland premiere, composed Canzoniere in 2010 on a commission from the Anthony P. Checchia Composers Project of the Philadelphia Chamber Music Society. Inspired by early-Baroque composer Claudio Monteverdi's music, Canzoniere presents a unique combination of tonality, dissonance, serene flowing phrases, and virtuoso writing for both flute and piano. Piccinini's world-premiere demonstrated Ludwig's talent, and we should look forward to him finding more of his own voice in the future. Both Felix Mendelssohn and Sergei Prokofiev wrote sonatas that are better known for violin, but Piccinini showed us just how well they work for flute. Mendelssohn composed his Sonata in F Minor, Op. 4, in 1825, when he was merely 16 years old. Piccinini's arrangement for flute sounded perfectly idiomatic for her instrument—now I can't imagine it any other way. Prokofiev's Flute Sonata in D Major, Op. 94 is part of the standard flute repertoire, as is Lowell Liebermann's Flute Sonata, Op. 23. Piccinini performed both with enthralling musicality, riveting virtuosity, and total command and obvious love of her instrument. Now I better get back to practicing! Upcoming PCMS concerts this month include the Juilliard Quartet on the 14th, violinist Midori on the 16th, and pianist Emanuel Ax on the 17th. See pcmsconcerts.org for more information.

Eva Pierrou

Posted 2010-11-08 14:41:45

Bravo to reviewer Elivi Varga for writing such an exciting and informed review on this flute recital!

Posted by Elivi Varga @ 4:57 PM Permalink | Post a comment

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