by Kay Pech Anshutz as published in the IAWM Journal, February 1997, pp. 37.
Qhanri, Tibetan Variations for Cello and Piano; David Wells, cello; Marga Richter, piano. Requiem, Marga Richter, piano. Landscapes of the Mind II, Daniel Heifetz, violin; Michael Skelly, piano. Leonarda LE337.
Qhanri (snow mountain) should be in the repertoire of every virtuoso cellist for several reasons: it provides for a great display of technical prowess, it explores the tonal range of the instrument and it is an important addition to cello literature. Qhanri is so idiomatic that one cannot imagine this work being written for any instruments other than cello and piano. The performance of cellist David Wells is first rate. The imaginative opening of Qhanri seizes one's imagination immediately, and the interplay between cello and piano is fascinating and well written. Whether listening to it with the title of each variation in mind or not, one finds that the piece evokes a variety of feelings and responses. It is the length of the work, however, that is problematic, and eventually the music starts to resemble an exercise in variations on emotional feelings that are too often depressing.
Requiem for solo piano was originally conceived for solo guitar, but the composer believed the work needed to be expanded to take advantage of the resources of the keyboard. When listening to the work, one cannot help being aware of the heart-felt expression that the composer/performer brings to the composition. This listener, however, found that the repetitious chordal sections lacked a rise to the resolution of the pervading sense of sorrow. Music needs to exult and this music gives little hope.
The unresolved musings of Requiem seem to flow directly into Landscapes of the Mind II, for violin and piano. Unlike Qhanri, in which the cellist had an opportunity to express lyricism and to display technical skill, this composition leaves the violinist dangling with little to say at the outset of the work. Daniel Heifetz and Michael Skelly are presented with a greater challenge as well, since the density of texture and volume of the piano frequently overwhelm the violin.
As a whole, the quality of the recording, particularly of the piano, is exceptional and the musicianship of all the performing artists on this CD is outstanding. Unfortunately, the choice of three pieces of such a similar nature gives only a limited view of the composer's ability.
Kay Pech Anshutz is the violinist of the Trio Sirena, a piano trio specializing in performing music of women composers throughout southern California. She teaches chamber music in two Los Angeles area colleges and edits newsletters for MTAC and Suzuki music associations.