Saturday evening the Concordia Concert Hall was the site of an unexpected
world premiere: Oskar Morawetz' Four Contrasting Moods as played by Toronto
pianist Francine Kay. Like much of this veteran Canadian's work, the pieces were
skilfully wrought in a post-romantic style, but with a new indulgence in
impressionistic color and fantasy.
Kay was a completely assured interpreter both of Morawetz and of Debussy.
Scalar ornaments in Feu d'Artifices were brilliantly articulated; "General
Lavine - eccentric" was delightful because it was certifiably eccentric in
rhythm. Her pulse in Schumann's Faschensschwank and Beethoven's Sonata Op. 10
No. 3 sometimes sounded labored. But, on the whole, the spontaneity of her style
was most refreshing.
