Albert Tiu played at the Ayala Museum an impressively imaginative, creative program inspired by the four elements: Earth, Wind, Water and Fire. Liszt, Rachmaninov, Quilter, Godowsky and Debussy presented Earth, Liszt, Debussy, Griffes, Ibert and Messiaen, Wind; Debussy, Mompou,, Berio, Liszt and Ravel, Water; Wagner, Debussy, Satie, Soriabin and De Falla, Fire.
Although the selection were on common subjects, they each had a distinctive substance and style. Debussy’s Le vent dans la plaine delineated strong gusts of wind finally weakening. The pieces on Water and Fire were the most eloquently descriptive, having been drawn directly from water and fire, the selections inspired by fire were the most technically challenging, and dominating, with Tiu incontrovertibly demonstrative virtuosity.
This he already established in the opening bravura piece of Liszt on earth, with its thunderous chordal passages and astonishingly swift runs. Tiu’s expressive interpretation of the various “water†compositions calling to mind such descriptive words as “shimmering,†“rippling.†“flowing,†“cascading†and “glisteningâ€.
The widely diverse program reflected Tiu’s extensive background and versatility, these demanding sureness of touch, mastery of dynamics that ranged from electrifying power to lambent pianissimos, to arresting pauses.
Liszt and Debussy were the most often rendered. The fiery drama and passion of Liszt predominating; the subtle, shadowy tonal colors, the technical complexities — e.g., glissandos, arpeggios, rhythmical changes, etc. displayed Debussy’s supreme artistry.
The five “Fire†pieces were mind-boggling. De Falla’s Ritual Fire Dance, which depicts a woman dancing with fire to drive away evil spirits was played decades ago by Julio Esteban Anguita. This concert finale was characterized by tremendous vitality, by the startling, devastating force of a truly outstanding artist. Tiu’s performance testifies to his enviable place among the country’s leading pianists.