OVERNIGHT REVIEW: Worby and Muse-ique open season with piano fest

By Robert D. Thomas

Music Critic

Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily
News

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Muse-ique; Rachael
Worby, host/conductor

Monday, March 19, 2012 Pasadena Civic Auditorium

Next event: April 9 at Autry National Center (Griffith Park)

Information: www.muse-ique.com

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Three pianos (and six pianists were at the center

of Muse-ique’s program last night at the

Pasadena Civic Auditorium.

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Rachael Worby’s new organization, Muse-ique, began its first
full season last night. This summer they will play three outdoor concerts
(including two at the Olive Garden at Caltech) but the four “Uncorked” events
are the heart of what Worby hoped to accomplish when she founded this new
program last year.

 

Each of these events (don’t call them concerts) will be in a
different, unusual location; last night, everyone — performers and the audience
– was on stage at the Pasadena Civic Auditorium. With tables and chairs grouped
around three grand pianos, the venue felt like a nightclub or perhaps a large
living room of a century ago. Worby even encouraged people to turn ON their
cell phones to Tweet or provide Facebook updates and take pictures (she even
announced a video contest) — this is definitely not your standard concert or
recital.

 

Each of the “Uncorked” programs lasts about 90 minutes; last
night began with 30 minutes of cocktails and schmoozing and the musical portion
of the program lasted 75 minutes. Worby (who for 10 years was music director of
the Pasadena Pops Orchestra) acted as host, raconteur (something she does
exceedingly well) and musical guide through snippets of the history about the
piano (thus the title, “Ebony Meets Ivory”).

 

She was joined by six local pianists who performed
individually, in two-piano settings, and using four-hand and even six-hand
arrangements. For the grand finale, all six played on the three pianos in Stars and Stripes Forever.

 

The evening began with writer-actress-pop culture analyst
Sandra Tsing Loh reading Ogden Nash’s sardonic poem Piano Tuner: Untune me that Tune, which morphed (naturally) into
Worby and a youngster playing Chopsticks (if you don’t know why that would be
“natural,” you can read the poem HERE). From there, Worby began with Bach and took the
audience through a quick history lesson, touching on piano music through the
centuries.

 

None of the selections in Worby’s eclectic format are
lengthy but there were pleasures aplenty. Joanne Pearce Martin, principal
keyboardist of the Los Angeles Philharmonic, and her husband, Gavin, began with
a pristine, graceful two-piano arrangement of Bach’s Jesu, Joy of Man’s Desiring, and Joanne returned for a spritely
rendition of Mendelssohn’s Spinning Song.

 

Markus Pawlik played the first movement of Beethoven’s
“Moonlight” Sonata with gentle sonority, and Caltech professor Julia Greer
reprised her performance from last summer, playing Bach while trying to explain
what exactly it is that she does in the laboratory. It’s hard to decide which
is more difficult, although Greer demonstrated anew that she is quite an
accomplished pianist. Pawlik and Greer then joined for a four-hand arrangement
of music by Ravel.

 

Bryan Pezzone and Kirk Wilson offered different styles of
improvisation. Pezzone created his version of We Shall Overcome through the lens of Beethoven with an occasional
foray into jazz, while Wilson played jazz riffs while Loh read Carl Sandburg’s Jazz Fantasia.

 

The highlight of the evening came when the Martins offered a
gripping rendition of Lutoslawski’s Paganini
Variations.
Both Worby and Gavin Martin provided the backstory.

 

To
earn a living during World War II, Lutoslawski played piano-duos in cabarets
with fellow composer Andrzej Panufnik. One of their arrangements was of
Paganini’s famous 24th Caprice (far better known for its inclusion
in Rachmaninoff’s Rhapsody on a Theme of
Paganini).
When Lutoslawski fled Warsaw just before the 1944 uprising, this
was his only piece that survived the destruction.
Unlike
Rachmaninoff’s dreamy arrangement, Lutoslawski’s version is more jagged and
angular; the Martins played it superbly. Pasadena Symphony concertmaster Aimee
Kreston introduced the tune on her violin, which helped people understand from
the variations came.

 

To conclude the evening, Martin & Martin joined with the
other four pianists for a splashy rendition of Stars and Stripes Forever, which — if nothing else — proved that
Sousa’s piece is indestructible.

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(c) Copyright 2012, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

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