From Bach to Bartók

Last night was spectacular at the Harvard Club for a program, "From Bach to Bartók" with Elizaveta Kopelman (piano) and the up and coming Anastasia Khitruk. The setting of the club itself was of course beautiful, however the acoustics of Harvard hall (too big, ceilings too high, ect.) diminished, if only slightly, what I could hear.

Walking into the club, I quickly noticed several surrealistic features that make all situations beyond my bedroom and workspace somewhat unfamiliar and humorous. My favorite was the "NO TIPPING" sign placed several feet above arms length in the window of the coat check, which was of course also written in braille. Imagine a blind person, who in his error, might decide to give a tip to the persons checking his coat. Would he carefully search out the walls looking for improbably located signs warning against the folly or tipping? Perhaps the coat check occasionally guide the hands of blind patrons to reassure and convince him that he really can not accept their tips.

In any case, the evening consisted of Tartini, Bach, Frank, and Bartók. Anastasia framed the evening as a discussion of the evolution of the violin, from the lonely herdsman's instrument to the most expensive item per ounce on the planet. She connected with a mixture informative anecdotes and sharp humor. Her playing was very passionate but always completely under control and with all the confidence of a world class player. She started every piece with historical context and a personal story that prepared the audience for listening. Unfortunately the hall was booked for another performance and the Bartók almost did not happen. The audience pleaded for it, and we got it, but without the introduction.

Her style was just so full of power as she played the Romanian folk dances (Sz. 68 Recommended Recording ) and the harmonics in the No.3 dance were in the stratosphere, the best I've ever heard. We didn't get a chance to hear her intro, and I didn't ask her later, what she would have said about her Bartók, but to leap from these various styles of music, into a piece and performance of such emotion; alas music is not in need of words.

Thanks to Michael Pochna for the invite, and of course Anastasia, who later asked if I was still practicing my cello. I told her I was keeping my cello warm, although the last few days that is because it is too close to the radiator. I know Anastasia is destined for further great

interpretations.

Anastasia at the club