Anton Gerzenberg, a young and versatile pianist, demonstrated his broad repertoire across various musical periods and styles at the Miami International Piano Festival on Sunday evening. Held at the Wolfsonian Museum, his performance featured classic piano pieces by Chopin and an opening half dedicated to an assortment of waltzes, which he described as “a few encores.”
The concert commenced with Ravel’s Valses nobles et sentimentales, a 1911 composition paying tribute to Franz Schubert. Gerzenberg’s interpretation brought forth a spectrum of colors and imagery, highlighting the unique character of each waltz. From the grand fanfare of the opening movement to the playful rhythmic accents of the sixth and the dreamy nocturnal atmosphere of the epilogue, he captured the essence of Ravel’s work with precision and expression.
Navigating the museum’s reverberant acoustics, Gerzenberg exhibited a keen sense of nuance, skillfully controlling the pedal to maintain both clarity and blend where necessary. His refined touch was particularly evident in Chopin’s Waltz in A-flat major, Op. 42, where his delicate yet sophisticated playing shone.
As a nod to Vienna, the birthplace of the waltz in its early folk forms, Gerzenberg selected transcriptions of works by Fritz Kreisler and Johann Strauss, arranged by Rachmaninoff and Godowsky. Liebesleid and Liebesfreud represented contrasting emotions—“Love’s Sorrow” and “Love’s Joy.” Gerzenberg’s elegant rubato reflected the fluid motion of Viennese waltzes, while his attention to counterpoint added warmth and depth to the lyrical moments.
Rachmaninoff’s arrangements preserved the light, airy waltz style, whereas Godowsky’s Symphonic Metamorphoses on Die Fledermaus pushed both the pianist and audience to track the intricate transformations of its themes. Known for his technically demanding compositions, Godowsky layered complex textures that challenged interpretation. Yet, Gerzenberg projected the themes with clarity and flair, expertly navigating the dreamlike sequences that interwove throughout the piece.
A shift in tone marked the concert’s second half, where Gerzenberg embraced the depth and drama of Chopin’s music. He launched into the Scherzo in B-flat minor, Op. 31, a piece Schumann likened to a Byronic poem, full of passion, tenderness, and defiance. Gerzenberg’s performance balanced tempo and contrast with eloquence, seamlessly transitioning between lyrical and stormy passages. His interpretation of the Nocturne in C minor, Op. 48, No. 1 further displayed his keen musical sensitivity, as his phrasing and voicing choices lent new freshness to this well-known work.
The program concluded with Chopin’s Sonata No. 3 in B minor, Op. 58. Gerzenberg approached the opening Allegro maestoso with a commanding forte, and his varied treatment of phrasing added dimension to the piece. He effortlessly transitioned between extroverted and introspective moods, particularly in the second theme, where his tone suggested a sense of awe, hinting at something ethereal.
The Scherzo section showcased his technical prowess, as he breezed through its rapid passages with finesse while bringing a gentle contrast in the trio section. In the Largo, he cultivated an expressive depth, allowing the melody to unfold over a delicately cushioned accompaniment. His bell-like tones and sensitive phrasing gave the movement both weight and transcendence, evoking an “ode to life” sentiment.
In the final Presto, Gerzenberg delivered a robust performance, emphasizing the bass line with striking inflections that enriched the lively right-hand passages. His execution of the sonata’s shifting moods—from tempestuous to playful, passionate to brooding—demonstrated both his emotional depth and technical command. With this performance, Gerzenberg reaffirmed his artistic maturity and finesse, leaving a lasting impression on his audience.
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