 Ran Dank, Pianist, at the Trustees Theater
Saturday, April 26, 2008
The Savannah Concert Association concluded its 2007-2008 season with a nicely balanced and well-received program combining solo piano and chamber ensemble works.
Young Tel-Aviv born and trained, and New York polished pianist, Ran Dank, charmed and rewarded an appreciative audience at the Trustees Theatre.
Dank opened the first half of the program with an excellent reading of Chopin's brief and bombastic Waltz in A flat. He coaxed a confident, mature interpretation from a Steinway that seemed reluctant to sing. Dank later declared the instrument to be "muted". (He suggested that perhaps it needed to be exercised more often.)
With Beethoven's Sonata in E Flat Major, we are well into his "romantic" development. The 25 year-old soloist displayed a thorough grasp of the master's musical intentions. One of the best statements that can be made about a musician is that he does not just play his instrument well, he, most importantly, makes music. Dank, despite a brief stumble which made him smile ironically and move on, made fine music.
The fin-de-siecle composer Alexander Scriabin was definitely a progenitor of "modern" classical music. His tonal palette combines the occasional cacophony with lovely sonorities. Dare we suggest musical impressionism? This work, well read by Dank is certainly warm and cloudy but not necessarily as dark as its sobriquet Messe Noir (Black Mass) suggests.
A sleight disappointment occurred with the march through Chopin's overloved Polonaise in A Flat. This old war horse was ridden well enough but rather casually by the young Dank. Was he bored or impatient? (I didn't ask.) This inevitable standard in any pianist's repertoire could have used more punctuation. Perhaps it was more the piano's fault than the pianist's.
 After the intermission, Ran Dank was joined by an ensemble of some of the best local classical musicians in a very competent performance of Schubert's Quintet in A Major, "The Trout". This well-favored quintet is scored for a less traditional instrumental grouping. Terry Moore was the (only) violinist;Gretchen Frazier the violist; Sarah Schenkman the cellist, and the double bass was played by Steve Rickett.
What to say about Schubert's fine old fish? Is the familiar "Trout" theme based on an old folk song or is it one of Schubert's many lieder?
The string quartet with a bass viol in residence creates a comfortable, warm sound. With just one and one half rehearsals (this was Dank's first ever performance of this traditional old member of the chamber repertoire club) the group coalesced quickly and well. And, as Schubert undoubtedly intended, the piano knitted and held the entire well-played piece together.
— Review by Fred Johnson |
