Pianist Michael Arnowitt Closes 2024 Sounds in the Sanctuary Season
Marcia Okun Offers A Pianist’s Appreciation For A Master
Michael Arnowitt introduces his next piece
Michael Arnowitt presented an inspiring piano recital for the last 2024 Sounds of the Sanctuary series with an enjoyable blend of well and lesser known composers.
Michael explained why he chose each selection, sharing his passion for each piece, adding relevant details about the composers. He then went on to clue the audience in on what to listen for in each piece, which is especially helpful if listening to a piece for the first time.
The program started with a Brahms intermezzos, Op. 119 No.1 in B minor. I have always loved Brahms, especially his intermezzos, but had to stop playing his works after learning that the range he required could damage my hands. Unlike Michael, who has the large hands needed to master the dense chords and runs found in most Brahms pieces. Watching his large hands fly over the keys was enjoyable.
preparing to play
What I found especially enjoyable were the pieces by composers I did not know: Gyorgy Ligeti and Victoria Poleva. Two of Ligeti’s études were chosen because they were favorites of Michael’s and I could understand why. The first étude, Open strings, played with the concept of the dominant fifth and used the full range of the piano’s keyboard in a way not found in most pieces. The second étude, the Sorcerer’s Apprentice, had the two hands weaving together to a degree not found in most pieces, showing the playfulness of the composer and mastery of the performer in a way that was enchanting.
These études were followed by a melodic and evocative piece by Victoria Poleva, an Ukrainian composer whom Michael hopes is now safely in Germany. Michael’s compassion came through in his desire to promote Poleva and performance of this piece. He insisted that we focus on the music by closing our eyes. I am sure that I am not the only listener who would like to hear more pieces by Poleva.
Next were two selections from the ballet Petrushka by Stravinsky. Michael gave a brief synopsis of the scenes that went with his selections; his playing then evoked pictures of those scenes he had described.
“All of this was especially impressive given that Michael has lost most of his sight.”
The performance ended with another well known 19th century composer, Beethoven. Michael chose to play Beethoven’s Sonata no. 32, one of the pieces composed after Beethoven went deaf and not often performed. Unlike most sonatas, this one only has two movements and is one of the more challenging sonatas to play. According to Michael, the first movement is very extroverted and the second introverted; he played the movements accordingly. The sonata combined elements that were quintessential Beethoven mixed with motifs evocative of stride piano and other 20th century genres.
Deep into the Beethoven, strong hands dancing up and down the keyboard, through the complicated composition that only masters dare to play.
His choices clearly highlighted Beethoven’s genius and demonstrated Michael’s full mastery of both the technical and musical potential of the piano.
Pianist and composer Michael Arnowitt closed out the Sounds in the Sanctuary, 2024 season with work from Brahms, Ligeti, Poleva, Stravinsky and Beethoven.
The final work of the evening, Sonata No. 32 in C minor Op. 111 by Ludwig van Beethoven was composed at the very end of Beethoven's life. This sonata contrives its own structure, integrating the most complex musical phenomena into a work of two movements. Some have called this work "impossible" to play. Michael Arnowitt rose to the occasion and then some. The audience was mesmerized. —
Ed Clark, Sounds in the Sanctuary Associate Director
Overall the recital was well balanced in terms of the technical and emotional in its programming, the amount of information provided for each piece, and Michael’s playing, moving cleanly and crisply around the full length of the piano keyboard while expertly balancing the various voices and dynamics of each piece. All of this was especially impressive given that Michael has lost most of his sight.
In short, this was and inspiring recital, one that sent me rushing home to practice the piano.
Marcia Okun is a BHC member, who has been playing piano since she was five. As an adolescent she attended the NEC prep school. In her travels, she always procured a piano where ever she lived, periodically taking lessons or attending workshops for a variety of genres. She last studied with Sayuri Miyamoto, a Boston area accompanist and teacher, and this past June attended the Acadia Traditional Music and Dance camp. In addition to jamming with friends on piano and other instruments. Ms Okun once accompanied her daughter, a trained singer, in a vocal recital and last year the Lisbon Regional School chorus in their school concerts. This year she is again accompanying the Lisbon Regional School chorus and has joined the pit for the Colonial Player’s production of “Joseph’s Technicolor Dreamcoat."
Photos by Ed Clark and Jacki Katzman