The Danbury Concert Association opened its 2005-6 season with a piano recital by a young and exciting Russian pianist. Olga Vinokur played a demanding program on WCSU's newly restored Steinway concert grand, last Sunday in Ives Concert Hall.

Vinokur is the winner of several piano competitions and is presently a doctoral candidate at the Manhattan School of Music.

In a few remarks to the audience before beginning her program, she called it a "romantic program," meaning the music uses a tonal language more familiar and readily accessible to listeners. This was certainly true of the opening piece, "Variations in C Major: Ah, vous dirai-je, Maman," by Mozart (1756-1791). We know them as Twinkle, Twinkle, Little Star! She did not play them anemically as do some pianists, but robustly, yet with enough lightness to keep the melody somewhat playful.

Two pieces followed: "Nocturne Op. 27, No. 2, in D-flat Major," and "Scherzo in E-flat Major," by Chopin (1810-1849). The Scherzo is a commanding and very florid piece, the right hand running up and down the keyboard with a beautiful theme in the left hand.

Vinokur seemed in her element and handled it with ease, never losing the lyricism or letting the many notes become more important than the musical content. She soared when needed, even improvised a little when there were slight memory hesitations, which seemed to prove she's an artist with temperament rather than a mechanical reproducer of notes. Refreshing!

A group of eight pieces followed, "Preludes Op. 11," by Alexander Scriabin (1872-1915), with one for the left hand alone (Op. 9, No. 1). Not quite as beautiful as this composer's "Nocturne for Left Hand," this brooding prelude is nonetheless attractive and haunting. In these pieces it seemed two Russians souls came together. (Now that is a "romantic" statement!). Vinokur did not seem to play them, but recreate them – one was more aware of the music than the playing of them. She captured their introspective and dream-like moods, making them almost the highlight of the day. Yet there were other Russian composers with which to grapple.

Ending the first half was the "Sonata No. 3 in A minor," by S. Prokofieff 1891-1953). The pianist tore into this one-movement restless sonata with a fury. It opens with pounding alternating fists full of notes. There are surprisingly thin and transparent sections in the piece, however, requiring delicate fingers and loose wrists that must function at lightning speed.

She had no problem and blitzed through the work, as the composer must have intended it to be performed. Yet, a little less damper pedal in some spots (or was it the piano's new personality?) might have provided further clarity of what was happening in the music. However, what reviewer would dare advise a Russian playing Russian music?

The entire second half was devoted to another Russian tone-poet: six pieces entitled "Moments Musicaux Op. 16," by S. Rachmaninoff (1873-1943).

To begin, playing all six is a staggering feat of memorization. One swears that Rachmaninoff must have had 15 fingers, and used them all in composing these pieces!

Vinokur never lost site of the musical lines or focus of the music, easy to do while thinking of all the notes. The first piece of the group was rendered with a beautiful singing tone, and was exquisitely played. With its busy left-hand, Number 4 in E minor was all but dazzling. The last piece was thick with massive sonorities and came off heroically. It's not so spellbinding as the composer might have intended, however. The audience might have jumped to their feet, but perhaps they were overwhelmed!

It was a spectacular opening event for the concert association. The restored Steinway has a rich and glorious sound, which was sumptuously demonstrated by Vinokur's program and her keyboard prowess.

What more could concert goers wish?

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