Liza Kerob en concerto à L.A. en 2001

MUSIC REVIEW – 2 Aout 2001

Last-Minute Soloist Shines

By RICHARD S. GINELL, Special to The Times

Nearing the close of their annual summer residency in the L.A. area, Eduard Schmieder and the young, multinational, highly accomplished I Palpiti Chamber Orchestra observed the Jascha Heifetz centenary with an out-of-the-ordinary program–some of which referred directly to Heifetz. There was some unplanned drama at the John Anson Ford Amphitheatre on Thursday. When violinist Erick Friedman was forced to cancel due to a family emergency, a member of the orchestra, Liza Kerob–a concertmistress of the Monte Carlo Philharmonic–had to learn the solo part of Martin Sweidel’s newly written « Heifetziana » on one day’s notice. She pulled it off beautifully, revealing a display piece that paraphrased the close of a Heifetz concert, a seamlessly segued fantasy drifting from the last strains of the Beethoven Violin Concerto through a string of encores.
Astor Piazzolla’s « The Four Seasons of Buenos Aires » may lack the descriptive power of Vivaldi’s famous seasons, but it contains a healthy quota of the Argentine tangomeister’s distinctive rhythms and sentiment. For those familiar with Gidon Kremer’s Nonesuch recording of Leonid Desyatnikov’s tangy arrangement of Piazzolla’s cycle–as juxtaposed with Vivaldi’s–the unidentified version heard here seemed rather defanged. Pianist Alex Slobodyanik and violinist Sayako Kusaka sailed with synchronistic elan through Mendelssohn’s Concerto in D Minor for Violin, Piano and Strings. And the orchestra displayed unified teamwork of its own in Stokowski’s transcription of the Preludio from J.S. Bach’s Partita in E.