Parker bestows sublime gifts

Pianist Jon Kimura Parker's final encore, a rousing rendition of the Simpsons theme, put an enjoyable stamp on a concert which only got better and better. His refreshing alternative to the usual piano recital elicited an enthusiastic response in Finney Chapel on Tuesday. The featured works of such familiar composers as Mozart, Beethoven and Chopin were well complemented by an extended foray into the twentieth century which included works of George Gershwin, Alexina Louie and Chick Corea.

Despite his many merits, though, his decision to put Mozart's A major Sonata first on the program may have been a miscalculation. A concert opener always carries a lot of weight, and Mozart's subtle opening in Parker's hands failed to acquaint the audience with what was later evident: a truly formidable musical sensibility.

Indeed, in this and the following piece (Beethoven's Appasionata Sonata), he was at his most careful, presumably intending to coax the intricate nuances from these two pieces but ultimately sounding restrained, and at times even tense.

In the Mozart, tempos were often inflexible, and what was at first an engaging simplicity grew tiresome when it lingered for too long. Certainly the famous Turkish March, with all its disparate sections, could have benefitted from a greater variety of characters.

Similar problems plagued the Beethoven. Parker seemed involved, but missed many opportunities to create the special moments that contribute to the emotional power of this sonata. The pyrotechnics in the last movement were solid, but the concept of the "endless struggle" central to the work was poorly conveyed. Here Parker played comfortably within his realm of ability, without taking the emotional risks that can make a performance of this piece one to remember. If in the end it was a memborable performance, it was due to the "realm of ability" itself, and in Parker's case, that realm is impressively vast.

Parker was much more at home in the second half of the concert, particularly in the more recently composed works. His "Twentieth Century Mix" featured works by three composers: George Gershwin, Alexina Louie, and Chick Corea. Introducing each with a short explanation lent a feeling of casualness to this part of the program.

Gershwin's Three Preludes were played with flair and spontaneity. Every note was crystal clear, and at times he sounded as if he were improvising.

Parker's height of expressivity was reached in the highly evocative piece by Alexina Louie, I leap through the sky with stars. Despite the unfathomably difficult demands placed on the pianist, he played this piece with ease and conviction, as if it were a natural consequence of his sitting down at the piano. The imagery of the shattered sky and the contrast between the earthly and the heavenly were stunningly conveyed. One could not imagine a more ideal performance of this piece.

The two transciptions of Chick Corea solos ("Where have I Known You Before" and "Got a Match?") added yet another dimension to Parker's playing. These two solos, the first a soulful ballade and the second a "frenetic" perpetual-motion tour de force, were as contrasting as possible, but the ambitious pianist easily tackled the difficulties of both.

Parker finished the concert with two Chopin compositions, the Nocturne in E-flat (a welcome last-minute addition to the program) and the Scherzo in C-sharp minor. The Scherzo was technically impressive (worthy of bringing down the house) but was ultimately lacking in atmosphere. The Nocturne, however, sensitively interpreted, was Parker's sublime gift to the audience. Although he unexpectedly read from the score, the elegant lines unfolded simply and gracefully under his control.

In retrospect, what transpired was a concert enjoyable for its great variety. What is most remarkable about Parker, aside from his extreme pianistic facility, is his capacity for sublime expressivity. What is strange is that it is not always apparent. But he needn't worry: his unpretentious stage prescence and engaging musical charm make him a sensitive, personal musician that audiences want to listen to. When else are we ever going to hear a virtuoso rendition of the Simpsons?