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Mishka Rushdie Momen review – the poignancy and power of Schubert unleashed
Royal Welsh College of Music and Drama, CardifThe pianist captured the vast dynamic contrasts of Schubert’s sonatas; and her fine playing of William Byrd was a refreshing foilTwo Schubert sonatas were the main works framing Mishka Rushdie Momen’s programme in the Royal Welsh College of Music and Drama’s Steinway series. Given that both were in the minor mode – the A minor, D784 and the C minor, D958 – together they constituted quite a serious, heavyweight affair for a Sunday morning recital.A pianist of graceful poise and sensitivity, Momen has a highly fluent technique that allowed everything to carry well in this acoustic. And, despite seeming a slight slip of a thing, to use an old-fashioned phrase, in these sonatas she showed that she could unleash considerable power in Schubert’s outbursts of high-volume dramatic tension, sometimes shocking in their immediacy. At the other extreme, her pianissimo was often pianississimo, so that lyrical lines, rather than quietly singing out, sounded understated and as a result curiously underwhelming. It was in the mercurial finale of the A minor sonata and the lilting, dance-like F major theme with its chromatic edge, poignant and piquant at every appearance, that Momen captured most expressively the happy/sad ambivalence of this composer’s musical makeup. Continue reading...
Royal Welsh College of Music and Drama, Cardif
The pianist captured the vast dynamic contrasts of Schubert’s sonatas; and her fine playing of William Byrd was a refreshing foil
Two Schubert sonatas were the main works framing Mishka Rushdie Momen’s programme in the Royal Welsh College of Music and Drama’s Steinway series. Given that both were in the minor mode – the A minor, D784 and the C minor, D958 – together they constituted quite a serious, heavyweight affair for a Sunday morning recital.
A pianist of graceful poise and sensitivity, Momen has a highly fluent technique that allowed everything to carry well in this acoustic. And, despite seeming a slight slip of a thing, to use an old-fashioned phrase, in these sonatas she showed that she could unleash considerable power in Schubert’s outbursts of high-volume dramatic tension, sometimes shocking in their immediacy. At the other extreme, her pianissimo was often pianississimo, so that lyrical lines, rather than quietly singing out, sounded understated and as a result curiously underwhelming. It was in the mercurial finale of the A minor sonata and the lilting, dance-like F major theme with its chromatic edge, poignant and piquant at every appearance, that Momen captured most expressively the happy/sad ambivalence of this composer’s musical makeup. Continue reading...
