Search - Ernesto Lecuona, Polly Ferman :: Lecuona: Danzas Afro-cubanos; Cuban Dances

IN THE HEAT OF THE CUBAN NIGHT

Melvyn M. Sobel | Freeport (Long Island), New York | 07/18/2001

(5 out of 5 stars)

"I knew from the opening "No hablas Mas!" of the DANZAS CUBANAS that Ferman would be completely immersed, would live and breathe the sultry syncopations of Cuban-born Ernesto Lecuona, would bring a soft, yet passionate, almost sexy new life to these languid works of some sixty-five years ago. As I continued to listen to the "Por que te vas" (Track 4), my intuition was confirmed. How dreamy and ageless these pieces became under Ferman's caressing fingers. So many pianists merely whack away at Lecuona, pounding him to pulp or, in an effort to show off their pyrotechnique, miss the point entirely. How tiresome; how grueling, and how unfair to Lecuona and the subtleties endowed in his music.



Yes, Ferman takes her time with Lecuona, but I see this as no detriment; instead, she allows us visionary insight. Rhythm and lyricism, hidden lines of melody, submerged inner voicing become readily obvious, deliciously piquant and nostalgic. She knows EXACTLY what she's doing, and she brings a new validation, a new legitimacy to Lecuona's compositions.



Listen to, for example, the "Danza de las Nanigos" or "Danza Lucumi" from the DANZAS AFRO-CUBANAS. Listen to how every note sings out so affectionately, so lovingly. The variation of tone and color comes from the palette of a consummate pianist.



ANDALUCIA (Suite Espanola), from "Cordoba" to "Malaguena," is enchanting, romantic, fiery (listen to the "Gitanerias"), and can easily stand beside the Albeniz "Iberia," whose length, itself, may be self-defeating in the wrong hands. With ANDALUCIA, Lecuona really shows his mettle (even though the Suite is a fine integration of works not originally intended as such). And, yes, even "Malaguena," that ill-famed, over-played warhorse, under Ferman's fingers becomes bonafide and fresh.



"Siboney," of course, is a reduction to piano solo of the Lecuona song, and its tuneful longing is peerless. [This was Desi Arnez's favorite Lecuona piece, by the way; don't know how Lucy felt about it, though.]



So infrequently do we come across a pianist whose "connection" to a composer is so absolute, whose revelations are so vital and truthful. Polly Ferman falls squarely into this category. I have no doubt whatsoever of the authenticity of Ferman's approach; it "feels" right from beginning to end. It's too bad, though, since the CD allows sufficient time, that Ms. Ferman did not include Lecuona's suite of the ten NINETEENTH CENTURY CUBAN DANCES, as this would have made the present recording even THAT much more indispensable.



However, even as it is, it's perfect.



[Running time: 66:02]"

SORRY IT AIN"T GOT IT

amusiclover33 | USA | 08/09/2001

(1 out of 5 stars)

"As an avid lover of the music of Lecuona, I have listened to all of the available recordings, and some which are now out of print, including LP's long gone by Echaniz, Pennario, etc. which were wonderful. This pianist, though a good one, misses the point ENTRIELY in this music. Soft, supple, singing, insights, bravura-none of these words decribe her playing, which is quite routine on this disc. (surprising: I have other CD's by her which I just love). She simply does not understand what Lecuona's music is about: the composer's conceptions of tempi, dynamics, structure of what the forms themselves represent, etc. Here in lies the problem: a misconception and uneducation of both performer and listener as to what Lecuona's music really is. It's been played badly for so long, that when it's played correctly, one fails to discern the difference. One may say her playing is "insightful" if one approaches the recording without knowing really what the music is: if you REALLY know, you would immediately point this recording out as just another failed attempt to reinvent Lecuona's music into something it isn't.Lecuona's style is very specific. One can hear that in his own recordings for BMG. Lecuona's own playing has great technical panache, bravura, almost Lisztian in the presentation. Interpretation such as presented here on this disc, is completely out of place. No matter what you say, or how fans might want to color it, this is NOT the Lecuona recording to have."

A Latin American specialist sleepwalking

DK | Miami, FL USA | 07/27/2000

(1 out of 5 stars)

"Once again, another pianist comes along on the heels of the Lecuona revival started by the re-release of Lecuona playing his own works on BMG/RCA, and Tirino's monumental, comprehensive and incomparable series on BIS records, and once again, this one fails miserably. Seems like so many pianists are trying to get on the Lecuona bandwagon these days.
Polly Ferman, a wonderful pianist who has done much for Latin American music in performance on and off disk wonderfully, unfortunately, like many other pianists, really misses it here with the music of Cuba's Ernesto Lecuona. It is unfortunate, because one would expect greater insights and interpretations from this pianist, who, sounds at times asleep at the piano.
The tempi are SO slow. No concept of contrast and/or what a danza Cubana is. The malaguena lacks every bit of fire needed, as well as technical panache. The other works lack insights, color variation, and style or understanding of the various works. The music is relegated to a salon like feel, at its worst.
Once again, as a Cuban, in my humble opinion-go get the Tirino BIS series of Complete Piano music of Lecuona. There's really no other game in town, and no competition."