Clara Rodriguez descriptions must now L62, F minor, L281, C major, L457, D minor,
be heartedly fed up being L366, F minor, L187 and D major, L14 -
searching soliloquy susp- labeled by such inept thankfully included none of the individual
ended over pedal bass. and unimaginative label expertise of either Horowitz or Pletnev, but
Malcolm Troup’s was a tags that provide no evoked a crisp response of the Italian Master’s
performance revelling in musical clues to their skills many-sided quips and subtleties and a beauty
the richness of triadic har- as interpreters of the chosen of line and expression that caught the church
mony, and which brought works which provide enjoy- responses of this famous location. The first of
resilience to the arpeggio passage- ment to their audiences. the pieces – five in all – by Venezulean com-
work exploring surprising semitonal clashes Clara’s multi-talented achievements of posers was Retrato Solemnisimo del Aldemaro
at the heart of the initial motifs. Especially course extend to her illustrious predecessors, Romero by Juan Carlos Nunez (b1949), a
evocative was his layering of the theme and like Teresa Carreno (Nimbus NI 6103) that poignant appreciation which provided a perfect
trilling textures of the arch-shaped second audacious, worshipped lioness of the keyboard follow-on. Then came the Liszt, complete with
movement, each phrase driven to its highpoint, who was highly revered by Franz Liszt, so it is score and page turner. The pace and style in the
with the lullaby-like central interlude was infused not surprising that the lady in question became introduction was admirable, with devilish three-
with Martinu’s dreamy bitonal modernism, the the subject of a very popular reappraisal- with finger turns of phrase denoting the demonic
performance ever alert to each magical har- live text as well as musical highlights – up and style of writing. The chosen steadiness matched
monic surprise, and the final elusive gesture. down the country. Liszt’s Mephisto Waltz No.1 the bravura, but as in a previous Purcell Room
Malcolm Troup drew the neo classical strands formed the centerpiece of her programme on performance, the lightning changes of key
of the work to an exciting denouement in the Ocober 3rd at St John’s, Smith Square, while showed some uncertainties, mostly in the left-
jaunty finale which unfolds after a strident Chopin- the Rodriguez recorded repertory is now hand. Vivid imagination and sheer persistence
esque introduction. His supple and dynamic enjoying repeated praises on Nimbus Alliance. corrected the deficiency and one sat back and
agility imbued the main skipping theme with a Indeed, her many appearances at London revelled in the radiant exploration of the devel-
caustic brittleness reminiscent of Shostakovich locations like Wigmore Hall, St. Johns, Smith opment, apotheosis and tenderness just prior to
or Prokofiev, its climactic peak taken with Square, the South Bank and the Barbican know the close.
rhapsodic bravura. exactly what to expect from the lovely lady in It is a well-tried formula of capitalizing on
Malcolm Miller her vivacious evening dress, and memories of one’s countrymen’s music while including
Geoffrey Crankshaw, late of this magazine, music from elsewhere in Part 2. Moises Moleiro
Clara Rodriguez