Music Reviews : Hollander in a Contemplative Mood

For some followers of Lorin Hollander, a single image is emblazoned in memory: his face-reddened, thunderbolt performance of the whiz-bang Saint-Saens’ Fifth Piano Concerto with the L.A. Chamber Orchestra in 1985.

But when the former Wunderkind returned Wednesday in recital at the County Museum’s Bing Theater--after an absence here of seven years--he struck an altogether different mode.

This one was the contemplative Hollander--entirely fitting for a musician celebrating 36 years before the public who is a worldwide activist for literacy in the arts.

In a Bach-Schubert program, he guided his near-capacity audience on a tour of music both beloved and profound. And, as the most sharing pianists tend to do these days, he introduced each piece with personal comments, literary allusions and even droll observations.

The Partita No. 6 in E minor came across as simplicity itself. Hollander made no attempt to graft artificial grandeur onto the mammoth design through sonic manipulation.

Neither did he romanticize nor otherwise adapt to the modern Steinway--his discreet use of the pedal was expert. And yet he delivered the work’s mystical solemnity as well as the spiritedness of its dotted rhythms.

Choosing Brahms’ transcription of the Chaconne from the Violin Partita No. 2 had to be less satisfying, however, for those who don’t appreciate Baroque music treated with flourishes and extra resonance.

He did leave his listeners with a provocative thought prior to playing Schubert’s great B-flat Sonata, Opus Posthumous--something about the secrets contained therein, given the composer’s knowledge of his imminent death at the time of writing.

In terms of pure keyboard technique or methodology Hollander did not focus on the taut line or manicured entrances and exits that cut a swath for the emotive content. Yet he was never less than earnest in sorting out feelings, among them a palpable tenderness, transcendent sorrow and the miraculously blithe spirit of the finale.