Pressler Shows Virtuosic Skill in a Solo Recital of Distinction

At 72, Menahem Pressler has played solo recitals all over the United States, including a number in Southern California. His latest one proved again what an irrepressible and distinctive pianist he is.

Even to the most scholarly and serious musicians, and no matter what else they say, showing off is still the most urgent reason to give a recital. On Saturday, Pressler showed off his skills and insights with a virtuosic program containing Haydn’s E-flat Sonata, No. 62, Schumann’s suite, “Faschingsschwank aus Wien,” Debussy’s “Estampes” and the 24 Preludes of Chopin’s Opus 28, in Schoenberg Hall Auditorium at UCLA.

In the Preludes, Pressler’s approach seemed more prosaic than poetic, yet he achieved some beauteous and striking readings in this familiar score. As is his wont, he succeeded most often in those challenges involving musical drama and aggression; when he chose to play softly, it was not nearly as softly as possible. This is an extrovert pianist, the opposite of an introspective one. His playing of the Preludes became studies in objective analysis rather than vignettes of emotional response. Fascinating.

The rest of the program met the same high level of technical achievement and musical probity, though Pressler utilized a standard stylistic approach to all these composers. His playing is declamatory, and admirably so, but seldom truly thoughtful. Yet one would not trade these two hours in his musical presence for another experience less compelling.

After the program proper, Pressler’s encores were Chopin’s C-sharp minor Prelude, the one outside of Opus 28, and Brahms’ “Wiegenlied” (Lullaby). These became exquisite miniatures perfectly sculpted.