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Leonid Kusmin Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. LEONID KUZMIN Pianista - URSS-USA Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. LEO ID KUZ IN Pianista - URSS-USA Aclamado como "primera clase" por nistas del pasado lo habían llevado a el New York Ti mes con ocas ión de leer en detalle sobre las vidas, carre­ su recital de debut en la Sala Alice ras e inclusive los hábitos de estudio Tully del Lincoln Center, el joven de legendarios intérpretes como Buso­ pianista ruso-americano Leonid Kuz­ ni, Neuhaus y Hofmann- quien dio min muestra todos los indicios de al joven Leonid sus primeras leccio­ establecer una carrera de estatura nes. A la edad de siete años fue internacional. escogido para ingresar a la División Preparatoria del Conservatorio Esta­ A la edad de 25 años, Leonid Kuzmin tal de Música de Minsk, y continuó puede reclamar a su favor los más estudiando allí los siguientes diez impresionantes créditos: Primer Pre­ años con Irina Tsvetaeva. mio en el Concurso Estatal de Piano de Bielorrusia; Primer Premio en el Luego, Leonid Kuzmin y su familia Concurso Internacional de Piano de se trasladaron a los Estados Unidos, Praga, en 1984; Primer Premio en el residenciándose en Nueva York, don­ Concurso Internacional de la Aso­ de continuó sus estudios en la Escue­ ciación Americana de Colegiatura la Manhattan de Música. Su tutora de Música, Primer Premio en el Con­ allí fue la distinguida pedagoga Nina curso Internacional de Piano Pre­ Svetlanova. Tomó parte también y mio Stravinsky, y recientemente, el en forma regular, de una serie de Primer Premio en el Concurso de clases magistrales avanzadas ofre­ Concierto en la Escuela Manhattan cidas cada semestre por el mun­ de Música, en 1986. dialmente conocido pianista John Browning. Nacido en 1964 en Gomel, Bielorru­ sia (Unión Soviética), Leonid Kuz­ Durante el verano de 1988, Leonid min empezó sus estudios de piano Kuzmin realizó su segunda visita al cuando tenía cinco años de edad. Festival Spoleto en Italia por i nvita­ ción del compositor Gian Carla Meno­ Sus padres eran profesores de inglés tti. Su primera aparición en este fes­ y alemán, sin educación formal en tival fue tan exitosa que le valió de música; sin embargo, fue su padre inmediato su segundo compromiso -cuyo interés en los grandes pia- durante el mismo. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. LEONID K ZMI Pianista - URSS-USA pianismo del siglo XX, Abram Cha­ Comentarios de prensa sins, expresó esta frase profética: "iRecuerden el nombre ... y sosten­ "Usted tiene el potencial para con­ gan la respiración!" vertirse en uno de los grandes pia­ Daniel Cariaga, crítico musical. Los nistas de este o cualquier siglo!". Angeles Times, abril 7 de 1988 Críticas elogiosas como esta han Cuando el brillante joven pianista seguido a Leonid Kuzmin alrededor ruso-americano Leonid Kuzmin tocó de los Estados Unidos donde, duran­ su primer recital en la Sala Alice Tully te la temporada de conciertos 1987- en la ciudad de Nueva York, el 24 de 1988, realizó más de 55 recitales noviembre de 1985, un torrente de además de conciertos y presenta­ desenfrenado entusiasmo se desató. ciones de Música de Cámara. Algunas personas de la audiencia Sobre uno de estos recitales so/.is­ resaltaron que la presentación hacía tas, Los Angeles Times afirmó: recordar el histórico debut de Vla­ dimir Horowitz en 1928. "No andemos con rodeos: la inter­ pretación de Kuzmin es espléndida. Siguiendo las presentaciones de Hubo largas líneas, articulación segu­ Kuzmin , el distinguido cronista del ra y triunfo técnico". Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. PROGRAMA / \' Sonata en Si menor Franz Liszt (1811-1886) apsodia Húngara No. 12 en Do sostenido menor Franz Liszt / INTERMEDIO /sonata No. 7 en Si bemol mayor, Opus 83 Sergei Prokofiev Allegro inquieto (1891-1953) Andante caloroso Precipitato Hungarische Zigeunerweisen Karl Tausig L (1841-1871 ) Bogotá, 23 de mayo de 1990 e 1/ I CONCIERTO NO. 31 1 1:: I ~ Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. notas al programa Sonata No mucho tiempo antes de su muerte en 1856, Robert en Si menor Schumann dedicó a Franz Liszt su Fantasía en Do mayor Franz Liszt para piano, como contribución al proyecto de Liszt de (1811-1886) erigir un monumento a la memoria de Beethoven. Poco después, en 1853, Liszt dedicó a Schumann su Sonata en Si menor, publicada un año más tarde. Schumann murió en 1856. Ambas obras quedaron como símbolos muy opuestos de una amistad difícilmente mantenida entre dos genios francamente contrapuestos, el del muy román­ tico cultor de las formas clásicas, prematuramente de­ saparecido, y el del arrebatado pianista y compositor fecundísimo para su instrumento; su Sonata en Si menor ocupa singular situación entre las innumerables compo­ siciones para piano de su creador. En primertérmino podría decirse que la denominación de sonata conviene muy mal a u na obra formada por un solo y muy vasto movimiento, en el que se distinguen catorce episodios o cambios de tiempo, lo que da a la obra un carácter muy libre e improvisatorio dentro de un extraor­ dinario rigor. Podría compararse con varios de los muy libres poemas sinfónicos de Liszt, que hubiera sido transcrito para el piano. Pero justamente un poema sin­ fónico sin programa. A este respecto anota Claude Ros­ tand que "esta obra es una de las raras pág inas de Liszt sin programa, siendo lo que se llama música pura. Cons­ tituye probablemente, por las particularidades de su escritura y de su forma, una de las más altas realizaciones pianísticas de Liszt. Añade Rostand que su forma muy nueva en un solo gran movimiento, hace que en su obra muy apreciable sobre el género sonata, Blanche Selva trate esta obra maestra con cierto menosprecio, como no entrando en el cuadro clásico de este género tradicional. Pero nadie pudo prohibir a Liszt buscar la evolución de una forma que, por otra parte, ya llevaba un siglo de evolución perpetua. En este gran movimiento único se oponen dos temas a los que prontamente vendrán a ag regarse tres motivos secun- Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. notas al programa darios. El análisis minucioso de Rostand concluye en que se trata de "un espléndido y grandioso monumento de arquitectura musical, de invención y audacia extraordi­ narias, cuya unidad orgánica va asegurada por los pilares de las dos ideas temáticas sobre las cuales se articulan todos los desarrollos, y cuyo equilibrio es soberano. Es una de las páginas más considerables de la literatura pianística de todos los tiempos. El carácter o, mejor, el sentimiento general de esta obra, será gustado por cada cual a su sabor, según su imaginación y su sensibilidad particulares, pero ciertamente siempre arrastrado irresis­ tiblemente por este torrente de pasión, de di namismo, de grandeza, a veces de salvajismo". Para citar solamente una voz discordante, anotemos que Harvey F. Phillips observa que esta sonata "siempre ha sido fuente de discusión; se dice que Brahms se quedó dormido oyéndola (al propio Liszt): Hanslick la llamó imposible monstruo musical; para Sacheverell Sitwell es ardua e irritante para los nervios ... ". Rapsodia húngara Nadie mejor que el mismo Liszt para explicarnos lo que No. 12, se propuso al escribir sus diez y nueve Rapsodias en Do sostenido Húngaras, de muy desigual valor y muy variada populari- menor dad. Dijo así el compositor: "Con la palabra Rapsodia Liszt hemos querido designar el elemento fantásticamente épico que hemos creído hallar en ella. Cada una de estas producciones nos ha parecido siempre hacer parte de un ciclo poético. Ciertamente estos fragmentos no narran hechos; pero los oídos que saben escuchar sorprenderán la expresión de ciertos estados de alma en los cuales se resume el ideal de una nación ... Hemos llamado húnga­ ras estas rapsodias porque no hubiera sido justo separar en el porvenir lo que no lo había sido en el pasado". En seguida Liszt establece algunas distinciones entre la música gitana y la propiamente húngara. En verdad él no fue nunca muy exigente consigo mismo a este respecto. En general las Rapsodias Húngaras constan de dos par­ tes, una lenta y otra muy viva, de gran efecto virtuosístico. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. notas al programa Esto es cierto para la No. 12, en Do sostenido menor, una de las más famosas de la serie total. Liszt la dedicó al gran violinista judío-alemán Joseph Joachim. En 1874 el muy notable crítico Eduard Hanslick la reseñó con las siguientes palabras, tras de escucharla al com­ positor: "Esta original obra, que empieza en real estilo gitano, con una libre melancólica improvisación, para desembocar en una orgía en estilo de czardas, parece despertar el espíritu juvenil del autor. El Allegro ofrece muchos sombrosos efectos, exclusivamente asociados con Liszt, como el martilleo con ambas manos en una misma tonalidad, y la característica imitación del cím• balo. La manera como reproduce los efectos sonoros de este básico favorito instrumento húngaro es casi inimi­ table ... Liszt llevó la Rapsodia a su conclusión en una tempestad de octavas". Sonata No. 7 Esta es la penúltima de las ocho sonatas para piano de en Si bemol Serge Prokofiev, quien como admirable pianista supo mayor, aprovecha_r en ellas los recursos y las exigencias del Opus 83 instrumento. La séptima es una de las favoritas de la Prokofiev serie; compuesta entre 1939 y 1942, fue estrenada en (1891-1953 ) 1943 por el gran pianista Sviatoslav Richter.
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