World-renowned pianist Alon Goldstein captivated a capacity audience last Wednesday at An Intimate Evening of Beautiful Piano Music at the Orchid Island Beach Club. The seventh annual Atlantic Classical Orchestra Benefit Concert Series was hosted by the Vero Beach Friends of the ACO.
Having heard Goldstein’s outstanding performance this past April, when he joined the orchestra for Prokofiev’s Concerto No. 3, many were eager for a chance to hear him again.
In her welcome address, Jean Beckert, chair of the Vero Friends, thanked sponsors and recognized Jean McMullan, ACO co-founder with husband Andrew, Music Director Laureate, who was unable to attend.
John Corbett, ACO board chairman, reminded that the orchestra will be performing this season at the Community Church of Vero Beach, adding that the new venue offers great acoustics, ample parking and an increased seating capacity.
“It’s an extraordinary institution and an extraordinary group of musicians. It really is a treasure,” said Music Director David Amado of the ACO. He remarked how impressed he is that despite only playing a few months of the year, their gifted musicians can come together and play huge pieces compellingly. “I’m very grateful that all of you understand the level of that gift and the importance of that gift.”
Introducing Goldstein, Amado described him as being a generous and talented musician. “He is a person that you want to be with; he is a person that you want to create this wonderful music together with.”
Goldstein enthralled the audience as much with his engaging personality as with his virtuoso performance. The award-winning pianist, who regularly gives free performances at schools and nursing homes, also founded the Emerald Coast Music Alliance, to share classical music with under-served communities.
“I’m very passionate about every piece that I play and I love also to share a few thoughts, perhaps anecdotes about the music,” said Goldstein. Of the first piece, Three Sonatas by Scarlatti, Goldstein said that Scarlatti called his 555 sonatas exercises. “They are exercises in transparency, precision and accuracy and above all imagination,” said Goldstein, challenging the audience to count the number of times his hands crossed in the third sonata – impossible; it was 106.
Of Beethoven’s Sonata No. 14 in C sharp minor, what has become known as the “Moonlight Sonata,” Goldstein said Beethoven wrote the piece employing several unique aspects – using the ‘otherworldly color’ C sharp minor, structuring it in a ‘sonata quasi una fantasia’ format and instructing that the whole first movement be played without dampers. “He’s looking for something that’s never been tried,” said Goldstein.
After playing a piece he transcribed for solo piano from Bernstein’s “The Masque” from Symphony No. 2, based on the poem “The Age of Anxiety,” Goldstein mesmerized the audience with Schubert’s technically demanding “Wanderer Fantasy” in C major.
Goldstein described it as “one of the most difficult and revolutionary pieces of the first half of the 19th century. Ladies and gentlemen, this is one of the glories of the piano literature and it’s a great privilege to share with you.”
“I’m breathless!” said Beckert afterward. “Me too,” said Goldstein with a big grin, as the audience rose for a standing ovation.
For information on the upcoming season, visit atlanticclassicalorchestra.com; to learn more about Goldstein, visit alongoldstein.com.
Photos by: Leigh Green
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