By Eileen Wingard
SAN DIEGO — Gerald Robbins is a pianist I have watched during his musical development, from prize winner of both the Young Musicians Foundation in Los Angeles and the Van Cliburn Competition in Texas, to his successful career as soloist with major symphony orchestras, and as chamber music collaborator with some of the world’s greatest performers. He also served as pianist for the master classes of Violinist Jascha Heifetz, Violist William Primrose and Cellist Gregor Piatigorsky, when he was still a student at the University of Southern California.
Robbins’ high level of artistry was on display last Saturday afternoon at the Coronado Library, where an overflow audience listened to his piano recital. The program began with Mozart’s Sonata in A minor, K310, written when the composer was in Paris at the age of 22. His mother had accompanied him on the journey, and, unfortunately, fell ill and died. This sonata is written in the minor key. The first movement has unusual phrase lengths, a second theme in pulsating 16th notes, and dramatic dynamics in the development section, reflecting Mozart’s tormented feelings.
Robbins brought poignancy and sadness into the work, with its slow middle movement and Presto finale. The last movement had an obsessive, haunting quality in the recurring theme, especially in its final downward thrust.
Next, followed one of the most wonderful and challenging works for the piano, Brahms’ Variations and Fugue on a Theme by Handel.
Robbins emphasized the contrasting moods of each variation and his rendition of the fugal climax was an impressive tour de force. Brahms was 28 when he wrote this remarkable composition. Much of the material foreshadows the themes of his four symphonies.
After intermission, Robbins performed three pieces from Iberia by the Spanish composer, Isaac Albeniz. As Robbins explained in his informative introductions, Albeniz, along with his fellow Spanish composers, De Falla, Grenados and Turina, studied in Paris. All four composers were greatly influenced by the Impressionist composers, Debussy and Ravel.
The three selections, “Evocacion,” “El Puerto,” and “Triana,” reflected that influence. Robbins’ had just the right touch to project a veiled, impressionistic sound, evocative of Spanish gardens and flamenco dancing.
He concluded his performance with two works by Chopin, probably the most idiomatic composer for the piano that ever lived.
Both selections were written when Chopin was 21 years old.
The Impromptu no. 2 in f-sharp major, opus 20, featured rapid notes, so well executed by Robbins, that they sounded like strings of pearls. The final Scherzo in b minor, opus 20, with its technical hurdles, well-conquered by the seasoned artist, served as a triumphant conclusion to a memorable program. This was a wonderful prelude and interlude for the holiday celebrations, one of resurrection, one of freedom, for music can resurrect our hopes and dreams for the future and bring solace and freedom from the daily cares of life.
We are grateful to Gerald Robbins’ sister, Bonnie Robbins Fox, who helped facilitate this special holiday treat.
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Wingard, a retired violinist with the San Diego Symphony, is a freelance writer specializing in coverage of the arts.