Ana Maria Trenchi Bottazzi, piano
Carnegie Hall February 9, 2003
What happens to a pianist between
the ages of twenty - when the public clamors for anything new - and eighty -
when the public clamors for anything old? If the pianist is Ana Maria Trenchi
Bottazzi, she is at the height of her powers, offering music recitals of
penetrating beauty and holding the very depths of sincere expression with the
most delightful caprice in perfect balance. 
Ms. Trenchi Bottazzi's recital to a
packed and enthusiastic house was proof enough that there are many listeners who
follow her excellent moves and treasure her appearances here. Trenchi Bottazzi
is a solid and comfortable presence on the yawning stage of Carnegie Hall. She
enters with the professional's ability to warmly greet her audience while
maintaining an inner concentration to be loosed at the keys.
The opening two Sonatas of Scarlatti K. 466 and K. 146 were not tossed
off as the usual warm-ups. Both sang and danced with Iberian flair in the fully
developed demeanor that befits them. Ornaments added sparkle or kick as needed,
and there was never so much a hint of preciousness in these well-honed
performances. Beethoven's Sonata Op. 57 "Appassionata" followed. This
was a performance that spoke of great and sweeping issues. Trenchi Bottazzi is
not one to dawdle over the inconsequential. All details serve the main effort of
bringing into cohesion the far-reaching corners of Beethoven's emotional realm
into the white heat of combustion. With all the hocus-pocus going on these days
in the performance of such classic works, it was a major pleasure to hear this
pianist's clear and powerful vision so cleanly set forth. The epic Carnaval, Op.
9 of Schumann came next. A more fanciful and grand performance of these brimming
pages could not be imagined. With the comfort of a veteran and the ever-new
fount of musical joy, Trenchi Bottazzi whirled her way throughout the set of
twenty pieces, flinging the cut crystal facets of tenderness, delight,
effervescence, and brilliant badinage all which ways, and all of which found
their way right to the heart. We are grateful to the artist for bringing us
Martin Kutnowski's Lullaby for an Ancient Grandfather in its premier
performance. Kutnowski, like Trenchi Bottazzi, is a native of Argentina; both
now live in New York. Kutnowski, urrently on the faculty of Queensborough
Community College, has been the recipient of awards and scholarships by The
National Endowment of the Arts, the Fulbright Commission, and ASCAP, among other
organizations of international renown. His compositions, such as the Lullaby
played here, offer a unique voice of folk and international fusion. Old Jewish
lullabies, half-remembered over the years, drawn into an Argentine present, with
the sapient tools of general Western compositional techniques and recollections,
result in a magical work of dreamy depths. As with all Kutnowski's writing for
piano, it never fights the instrument, but rather settles into its parameters
and gently stretches and widens the idiom. Ms. Trenchi Bottazzi afforded it a
loving performance and shared the great applause with the composer, who was
present. The concert ended with a gallery of Chopin works. As such, it's true,
this concert followed an old formula of repertory choices, i.e. a little Baroque
to start, a big Beethoven to follow, a Romantic whopper; after intermission, a
new work, and then lots of Chopin. Well, to this pianist's credit, we were shown
just why such choices ever became popular, the prime one being that when done
well, it can't be beat. The
Nocturne in E-flat major, Op. 9 No. 2 was more beautiful than my memory could
even allow. To hear it played so songfully and without musical fuss - this was a
wonderful thing! Likewise, but of grander scope, the Ballade No. 3 in A-flat,
Op. 47. The Grand Valse Brillante in E-flat major, Op. 18 suffered some minor
sloppiness, but the Andante spianato and Grand Polonaise Brillante, Op. 22
brought down the house. To a
standing ovation, Ms. Trenchi Bottazzi offered two encores, the delightful Music
Box of Liadov, so rarely played nowadays, and Chopin's Polonaise in A-flat.
-
Darrell Rosenbluth -