MUSIC REVIEW : Pianist O’Conor Selects Fullerton for Southland Debut : Irish Star Impressive With Renditions of Beethoven Sonatas

Fullerton High School on a Sunday afternoon might seem an unlikely place for a winner of two major international piano competitions to make his Southern California debut. Nevertheless, there he was, Irish pianist John O’Conor, winner of both the International Beethoven Competition and the Bosendorfer Piano Competition, ready to perform at the appointed time and place for the North Orange County Community Concert Assn.

His program was a strong one, consisting of two sonatas by Beethoven--the “Waldstein” Sonata, Opus 53 and the Sonata Opus 31, No.1--the Four Piano Pieces, Opus 119 by Brahms and Book One of Debussy’s “Images.” Though hampered by the gymnasium-like acoustics of Plummer Auditorium and an edgy-toned piano, O’Conor managed intelligent and communicative readings.

The two Beethoven sonatas framed the program. O’Conor began with the relatively neglected Opus 31, No. 1 in a crisp, straightforward account that quietly revealed the work’s gentle humor and untroubled discourse. His attention was directed toward subtleties of dynamic and rhythmic clarity.

His “Waldstein” Sonata was a different matter. He attacked the first movement with considerable aggression at a very brisk pace. Driving energy was the main concern. But he didn’t leave detail behind, and moments of repose, such as his warm, roundly shaped playing of the second theme, gave his reading dimension. Variety of color and articulation marked his serene, spacious account of the Finale.

The Brahms pieces were intimately communicated with a clear, understated lyricism. Each was a concise, carefully molded statement. O’Conor gave the three pieces from Debussy’s “Images” an elegant, multicolored, atmospheric performance. In both the Brahms and the Debussy works, climaxes had breadth and controlled emotion; O’Conor never stooped to impress through piano-slamming sonority or glittering virtuosity. One’s concentration was always firmly drawn to the music.

He spoke briefly before each work in much the same intelligent and personable manner in which he played them. His sole encore was a beautiful, simple nocturne by fellow Dubliner John Field.