Gulyak: Formidable pianist /Fiery Spanish duo at IC /'Flamenco Garra' tonight

Russian pianist Sofya Gulyak, dressed in a black pant suit, bowed in a formal, dignified manner, then started to play.

Of Chopin’s 56 Mazurkas, she chose Op. 51, interpreting this with elegance and restraint while creating haunting, eerie effects reflecting diverse emotions.

She provided the Polonaise Fantasie in A Flat with vivid dramatic contrasts in dynamics, ending the piece in a towering climax. Her very fluent, fluid technique shone in the two previous pieces as it did in the Scherzo No. 3 in C Sharp Minor, the third of Chopin’s four Scherzos. The work is of impassioned vigor demanding brilliant bravura, and considerable strength for its florid musical fantasies which Gulyak rendered at high speed.

Her ardor and vigor reached their peak in the final Chopin piece, Andante Spianato and Grande Polonaise, its poetic moods expressed in a show of utmost virtuosity that brought the house down, the audience hearty in its applause and shouts of appreciation.

Through the pianist’s outstanding skill and subtle artistry, no less than her keen sense of drama, the listener gained a deeper awareness of Chopin’s originality — to this day he remains the most original and inventive of 20th century composers — and of his creative imagination.

Schumann has been described as “the voice of romance” and his pieces in the genre are of the finest.

The Schumann compositions in the program began with the Abegg Variations; followed the Kinderscenen, “a grown man’s reverie of childhood”. The pianist delicately and fascinatingly brought to mind children playing, and family gatherings full of warmth and tenderness. The piece, about childhood, is actually not for children.

Kinderscenen contains a piece of the most exquisite lyricism — often played as an isolated selection — and Gulyak exuded similarly exquisite charm.

Schumann’s Carnaval, a lengthy if not quite unified musical expression, has been called “tone portraits and moods, exuberant, warm and boldly rhythmic”. Again, Gulyak infused the extended work with her acute dramatic sense, making it utterly arresting. Her encores were Rachmaninoff’s dark, somber Prelude and a Bach piece.

In sum, the formidable concert was formidably interpreted.

* * *

With incredible dexterity, Spanish guitarist Juan Antonio Suarez conveyed thunder claps, the ocean’s roar, gunfire, horses’ hooves, contrasting these endlessly with birds on the wing, still waters, an infant wailing. The powerful strumming and the gentle plucking, in dazzling contrast, went on indeterminately throughout his performance.

The title “Siete Cuerdas para Dos Tacones” (Six Strings for Two Heels) was something of a misnomer because it should have been “Six Strings for Two Heels and a Pair of Hands”. Flamenco dancer Concha Jareño possesses the most expressive pair of hands not seen in a long while. Her flamenco dances evolved into a very personal, distinctive, original and creative style.

She clicked her castanets only in the first dance. In the next, she lay prostrate on the floor, her hands gracefully evoking images in human or animal forms. As she stood up to dance, she manipulated her long train deftly in rapid turns, jerky and abrupt twists, her arms in fluid motion or angular arcs.

In the third dance, her prop was an over-sized manton (cape or shawl) which she vigorously and briskly waved in the manner of a matador (bullfighter), as a male flamenco dancer would have done.

In the fourth sequence, her movements alternated, as usual, between graceful and angular, her dancing accentuated with pounding zapateados and taconeos.

Finally, guitarist and dancer rendered what Suarez described as a “dialogue in four movements” — each distinct and different from the other, ranging from slow and languid to fiery, frenetic and electrifying. It was a source of wonder to the viewer how Suarez and Jareño performed together with such spontaneity and yet perfect synchronization.

The roar from the audience after each number signified another triumphant presentation of Instituto Cervantes headed by director Jose R. Rodriguez. Ole!

Tonight at 9, “Flamenco Garra” will be presented by Tablao Flamenco. It will feature dancers Maradee de Guzman, Jameela Perez and Kevin Castro and guitarist Batu Yilmaz. Call tel. 899-1346 for inquiries.