Recital by Jerome Rose - 27th International Keyboard Institute & Festival

Beethoven: Sonata in C Minor, Op. 13, "Pathetique"
Schumann: Fantasiestücke, Op. 12
Liszt: Three Petrarch Sonnets
No. 47 in D-Flat Major
No. 104 in E Major
No. 123 in A-Flat Major

The International Keyboard Institute and Festival was founded in 1999 by Jerome Rose. This year it features six evenings of piano recitals performed by both gifted young performers and distinguished veterans, as well as master classes. It is one of the things that makes one happy to be in New York City in July!

The winner of the 1961 Ferruccio Busoni International Piano Competition, Jerome Rose was a student of Rudolf Serkin, Leonard Shure, and Adolph Baller. He shares their seriousness of purpose and devotion to the music. Two things he said to me when I interviewed him eight years ago:

1) "Every pianist worth anything has a sense of mission'' and
2) "It's like a religious life, serving a higher purpose."

(This interview is now included in my book "Afterthoughts of a Pianist/Teacher - A Collection of Essays and Interviews.")

Even in his 87th year, Mr. Rose never takes the easy way out - the "emergency rallentandos" that Schnabel spoke of are not for him! Fast movements are played up to tempo, even if there is occasional rushing or imprecise passagework.

Indeed, the outer movements of the Beethoven sonata had a sense of urgency, though the A-Flat Major section of the last movement presented a nice contrast in sound, and mood. The slow movement was played a bit faster than one sometimes hears it and, interestingly, here he emphasized the moving lower voices and the harmony as well as the right hand melody.

Mr. Rose also has a passion for the German Romantic repertoire, such as Schumann's Fantasiestücke. Some noteworthy parts of his performance of this work included the gruff character he brought out in the theme of Grillen, some really lovely playing in Fabel, and just the right, manic spirit in Traumes Wirren.

Jerome Rose is a noted Liszt player, and one was reminded of this when one heard him play the three Petrarch sonnets.
No. 47 had feelings of searching, reaching, and daring, as well as moments of quiet.

No. 104 was dramatic, assertive, powerful, and had a magical moment at the appearance of an E Minor chord

And No. 123 had some particularly beautiful playing in the high register, as well as an eloquent conclusion. .

There were two encores.

The first was the Ballade No. 3 in A-Flat Major by Chopin, which had some nice, individual touches.

The second was the Schubert Fantasy in F Minor for Piano Four Hands, which he played with Llewellyn Sánchez-Werner. It received a spirited performance, and was received with enthusiasm.