REVIEW Italian excels in piano concert

Antonio Pompa-Baldi's performance of Debussy's Suite Bergamasque was outstanding.
By ROBERT ROLLIN
VINDICATOR CORRESPONDENT
WARREN -- A snowy, blustery evening greeted Warren Civic Music Association concertgoers who attended the Packard Music Hall appearance of Italian pianist Antonio Pompa-Baldi. Pompa-Baldi is the 1999 winner of the renowned Cleveland International Piano competition.
From the very first notes of the Mozart Sonata in F major, it was clear that this was to be an exceptional evening. Mozart's first movement is a masterpiece. It rapidly piles up idea after idea, yet has a feeling of inevitable progression that few composers can match. Pompa-Baldi clearly understands this and shaped his performance, impeccably controlling nuances of phrasing, tempo, dynamics and accentuation.
The second movement, Adagio, is beautifully lyrical, a jewel in Mozart's crown of lovely slow movements. Here Pompa-Baldi balanced melody and accompaniment effectively.
The finale, Allegro assai, was virtually flawless, and had excellent shaping of dynamics and phrasing. Overall this represented a truly exceptional performance.
Chopin masterpiece: The Chopin Sonata No. 2 in B flat minor, another masterpiece, was equally eloquent. In the first movement the second theme was gorgeous, heading without pause to an energetic but controlled scherzo.
In the world-famous March funebra, Pompa-Baldi shaped the long, gradual crescendo skillfully. The finale was excellent as well, especially in its subdued intensity and in the cleverly executed staccatos.
One could not help but notice Wagnerian references in the Scriabin Sonata No. 4 in F sharp major. In spite of lush harmonies, a sonorous landscape, and a first-rate reading, the piece did not rise to the level of its precedents.
Debussy suite: The performance of the Debussy Suite Bergamasque was outstanding. The term Bergamasque refers to dances, songs, and popular poetry from the area of Bergamo in Northern Italy. Debussy's work was intended as a free composition based on impressions of peasant life in Bergamo.
Since Pompa-Baldi is Italian, it is not surprising that he would be so at home with the piece. Maintaining a simplicity appropriate to peasant music, the prelude was marked by especially nice staccatos and a minimum of pedal. Pomba-Baldi saved the truly loud passages for the end.
The Menuet and Passepied movements were characterized by the necessary clean articulation, deft technique, and clear dynamic punctuation, but it was in the Clair de Lune movement that Pompa-Baldi's velvet touch seemed to communicate best.
Rachmaninoff's Sonata No. 2 in B flat minor is heard infrequently. Notwithstanding, it is a gem of a work. Here Pompa-Baldi was able to demonstrate his prodigious technique and considerable expressive range.
The Warren series has been excellent this year, and with Antonio Pompa-Baldi they outdid themselves. This young man will have a prominent future.