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Without doubt, the most outstanding piece on the program was Thomas Daniel Schlee's "3 Signs," written in 2002. Panhofer's skillful interpretation accurately depicted a dramatic scene in which the listener could truly hear a conversation. Schlee capitalized on the vocal quality of the cello, using contrasting octaves, sliding pitches and the delicate dancing of the bow across the strings.
Panhofer demonstrated an impeccable sense of timing in the forward-looking Sonata by Egon Wellesz, from 1920. The composer compensated for the lack of accompanying instruments by enriching the solo cello texture with ingenious double-stops, pizzicatos and other devices, all confidently executed.
Though Panhofer poured expression and impressive technique into the work, the piece itself was not coherent.
Bach's Suite No. 2 was smooth and lyrical in Panhofer's hands. With his well-rounded tone, the consonant sounds and sweet chords were a welcome contrast to the dissonance that permeated the rest of the program.
Panhofer's unusual encore choice, John Cage's "4'33"," merits mention. The piece, which consists of four minutes and 33 seconds of silence, demands an explanation that the audience did not receive, so Cage's intent for listeners to notice the ambient sound around them was lost. Watching the silent performer, audience members tittered uncomfortably, the oddity leaving some fascinated and others baffled.
-- Gail Wein
Wolfgang Panhofer
Wolfgang Panhofer's concert Thursday night at the Embassy of Austria was brave, bold and brazen. Brave to go onstage and play an entire recital with just cello, unaccompanied. Bold to present a program of unfamiliar 20th- and 21st-century Austrian composers (plus one lovely Bach suite). And brazen to offer a conceptual encore by an American.
Without doubt, the most outstanding piece on the program was Thomas Daniel Schlee's "3 Signs," written in 2002. Panhofer's skillful interpretation accurately depicted a dramatic scene in which the listener could truly hear a conversation. Schlee capitalized on the vocal quality of the cello, using contrasting octaves, sliding pitches and the delicate dancing of the bow across the strings.
Panhofer demonstrated an impeccable sense of timing in the forward-looking Sonata by Egon Wellesz, from 1920. The composer compensated for the lack of accompanying instruments by enriching the solo cello texture with ingenious double-stops, pizzicatos and other devices, all confidently executed.
Though Panhofer poured expression and impressive technique into the work, the piece itself was not coherent.
Bach's Suite No. 2 was smooth and lyrical in Panhofer's hands. With his well-rounded tone, the consonant sounds and sweet chords were a welcome contrast to the dissonance that permeated the rest of the program.
Panhofer's unusual encore choice, John Cage's "4'33"," merits mention. The piece, which consists of four minutes and 33 seconds of silence, demands an explanation that the audience did not receive, so Cage's intent for listeners to notice the ambient sound around them was lost. Watching the silent performer, audience members tittered uncomfortably, the oddity leaving some fascinated and others baffled.
-- Gail Wein
