by JANA HANCHETT
“You have to put passion on a plate, and then everyone wants to have a share,” stated Yugoslav-born pianist Tamara Stefanovich, who performed the freshest piano concert yet presented by Portland Piano International under Arnaldo Cohen’s artistic direction. Portland’s piano lovers devoured the healthy portions of 20th century composers Olivier Messiaen and Gyorgy Ligeti that Stefanovich dished out Monday night.
Stefanovich proved a savvy musical chef, pairing Messiaen with late Franz Liszt on the first half of Monday’s concert and Sergei Rachmaninov with Ligeti on the second half. “There is a lot of work to be done [in promoting new music]. That is why I try not to dogmatically stress only new music, but I try to mix the past with the present,” explained Stefanovich. “I try to take the audience with me by saying, ‘Let’s see! Can we mix someone who is so backwards thinking like Rachmaninov with someone who is so forward thinking like Ligeti? Let’s put them in the same space and see what happens.’”
The audience readily accepted this invitation for experimentation; usually a healthy 10 percent of the audience will at some point close a sleepy eye, especially on Monday evening. But no sleepy eyes this night. As Stefanovich used one hand to turn the page (Hooray! Another pianist who uses music on stage!) from Messiaen into Liszt and Rachmaninov into Ligeti, and the other hand to sustain the last chord into the beginning of the next, the audience’s energy and curiosity perceptibly heightened: how was this going to work? Pianists often pair Bach with Schoenberg to show off the analytical, highly structured beauty of these disparate composers. But Messiaen and Liszt? Ligeti and Rachmaninov? How would they ever get along? Living up to her role as a new mother, Stefanovich used these chords to say, “Now let’s shake hands.” Messiaen and Liszt exchanged thoughts on spirituality, despair, and triumph while Ligeti and Rachmaninov shared their love of pure virtuosity and pianistic poetry.