Music Reviews : Pinch-Hit Pianism by Nohema Fernandez of Cuba

Cuban pianist Nohema Fernandez was rushed into recital Thursday night in the Recital Hall at Cal State Northridge, replacing two previously engaged but currently indisposed Cuban-born pianists.

From a quick glance at the program, it would have been easy to assume that the Santa Cruz-based musician specializes in Latin composers. Fortunately for the overflow house, there was empirical evidence that Fernandez is a pianist for two hemispheres.

Songful qualities constantly infuse her playing, with (can it be true?) judicious pedaling another rare asset. Two Soler sonatas sparkled, but it was Schubert’s Impromptu in B-flat, Opus 124, No. 3, which quickly revealed Fernandez’s strengths.

Liquid, rich, dark and effortless lyricism flourished in this theme and variations. The two C-sharp-minor etudes by Chopin provided most of what one would hope for, except perhaps a bit more power in Opus 10. The remainder of the program, devoted to all manner of Latin composers, proved that lack of power per se is not by any means a general flaw in her playing.

Unfortunately, not all of the music proved her equal.

The “Allegro de Concierto” by Granados delivers cascades of notes, but no memorable melody. Any lack of persuasiveness was solely in the work, not in the playing of Fernandez.

She had a vehicle worthy of her abilities in the “Choros” No. 5 of Villa-Lobos. By turns languorous and limpid, folksy and Stravinskyan, it bears repeated hearings, especially when played this colorfully.

Pleasant enough in their own ways: “Danzas Cubanas” by Ignacio Cervantes (a certain charm and sly wit); “Epigrama” by Aurelio de la Vega, and “Dos Piezas” by Miguel Roldan. Fernandez’s efforts were made worthwhile in the closing works, a suite of dances by Ginastera, “El Puerto” by Albeniz, “Polichinelle” by Villa-Lobos. Sparks joyously flew everywhere.