Traditional and Classical Music of Kazakhstan
Weill Recital Hall at Carnegie Hall, New York, NY
March 27, 2010

An important concert at Weill Recital Hall fascinatingly revealed some history and updates of Kazakhstan’s instruments, composers and current musicians. And the chronology was presented handsomely, with exploration of the traditional qobyz instrument and Kazakhstan folk music. Aizhan Toleubaeva was the impressionable soloist in traditional dress. The qobyz produces many rich overtones, and it resonated beautifully in the hall. She also played it very musically, holding the instrument like a cello and gently caressing her bow against its strings. Then talented pianist Alia Alhan, who is also the director of the Cultural Center of Kazakhstan in New York, proceeded to play Four Preludes by Kazhgaliev, which had some Ravelian influences, and Kyui by Andosov, a work with many open 4ths and 5ths and reminiscent of Borodin’s music. Alhan played the works with lovely shades of color and pedaling, and she was extremely musical at transitions, with subtle, tasteful rubato.

The world premiere of the Sonata for Violin and Piano by Almas Serkebayev could not have been more successful. The piece is extremely well-written for both instruments, is consistently engaging, and the performances by violinist Raushan Akhmedyarova and pianist Temirzhan Yerzhanov were high-energy and high-accuracy. They blended together flawlessly, with both technical and tonal polish. The work itself has two intense and exciting outer movements with a haunting Lento—reminiscent of Shostakovich—in its middle. I particularly enjoyed the always-fascinating bass lines; the snazzy, syncopated waltz-like sections (also sometimes drawing Shostakovich to mind); and the biting harmonies, which were quite original.

The program concluded with Yerzhanov performing Schumann’s Carnival, Opus 9. A graduate of the Moscow Tchaikovsky Conservatory and the winner of the 1993 Schumann Piano Competition, Yerzhanov moved to the States in 2002. Some of the many pieces like Preambule and Aveu were lacking the requisite grandeur or just felt too hurried. But other pieces like Eusebius and Chopin contained just the right amount of delicate, lovely rubato. Marche des Davidsbundler Contre des Philistins occasionally featured an appealing majesty, and the work concluded with a fierce drive and a sheer display of virtuoso technique.

-Anthony Aibel for New York Concert Review; New York, NY