Pacifica Tribune 2

Pacifica Tribune Review of Seth Montfort's November 18, 2005 Pacifica Performance

By Jean Bartlett
Arts Correspondent

Friday night pianist, composer, arranger Seth Montfort, also founder and artistic director of The San Francisco Concerto Orchestra and International Competitions for Musicians, sat down to the concert grand at Pacifica’s Sanchez Concert Hall and let it rip.  Admittedly that is not your typical description of a serious solo piano performance.  But then what is typical about a man who can memorize over 100 works, and we’re talking complicated works here, send them from memory to fingertips and then while he’s at it, throw in a heap of astounding technique, showmanship and sensual grace to nearly blow the roof from its rafters?  There were rumors that other pianists were going to make guest presentations on Friday night’s stage.  They didn’t.  Nobody cared.  Audience members were too busy shouting, alright calmly demanding, their personal choices from the pianist’s long list of “jukebox” selections.

First composer up – Rio de Janeiro born pianist-composer Ernesto Nazareth (1863-1934).  Pieces played: “Odeon” a tango; and “Confidencias” a waltz.  Nazareth began his career playing in the waiting rooms of movie theaters.  When several of his works were later included in a performance at Brazil’s National School of Music, the self-applauding classical only music crowed went wild in protest and riot police were called.  What were they thinking?  “Odeon” is like a Joplin rag but with more cheek to cheek piano romancing and high kicking heels.  “Confidencias” is a thoughtful waltz, requiring the pianist to offer memories and swirls, right fingered candlelight and thoughtful stops of dignity and question 

The next composer chosen was the son of a slave and was born along the Texas-Arkansas border.  His ragtime opera “Treemonisha” published in 1911 was critically hailed but couldn’t find a producer; at least not till 1972, 55 years after the composer’s death.  If you guessed Scott Joplin, you’d be right, but give yourself a swift kick for missing this Montfort performance of the “Maple Leaf Rag.”  Montfort’s tremendous skill on keyboard poured sass and smoke through an elaborate syncopated melody rhythm accented by shadows and history.

English composer pianist Billy Mayerl (1902-1959), often called the English “Gershwin” is still incredibly revered in England , and frankly by anyone who hears his music.  Mayerl also began his career in movie theaters.  When he filled in as pianist for the Savoy Havana Band at the Savoy Hotel in London , a legend was born.  First Montfort played Mayerl’s “Marigold.”  This is what I call “sway” piano because it makes you sway to the rhythm.  Sounding light and amusing, requiring oh so complicated fingering; this piece defines courtship.  Mayerl’s “Shallow Waters” is a magnificent silver screen epic, beginning in a quiet dinner keyboard and rolling into a farewell to arms.

Chilling piano moves through plague and death chant, along the blazing corridor of hell’s gates then up through the misty peace on the long road to heaven.  This piece called “Totentanz” or “Death Dance” was written by Franz Liszt (1811-1886) and it was the next audience selection of the evening.  It is an exhaustive, feverish workout for any pianist and threatens to cause spontaneous combustion around every corner.  Inspired by artist Hans Holbein’s woodcut portraying Death as a grinning skeleton, Liszt apparently practiced this piece from dawn till dusk in his home apartment while his neighbors pondered his sanity.  Unbelievably brilliant presentation by pianist Montfort who then took a break, as opposed to a sedative.

Set Two began with what Montfort labels “Gershwin’s Songbook (transcribed by Gershwin).”  Over the next eighteen minutes we heard sterling snippets of: “The Man I Love;” “Swanee;” “Nobody But You;” “I’ll Build A Stairway To Paradise;” “Do It Again;” “Fascinating Rhythm;” “Oh, Lady Be Good;” “Somebody Loves Me;” “Sweet and Low Down;” “Clap Yo’ Hands;” “Do Do Do;” “My One And Only;” “S Wonderful;” “Strike Up The Band;” “I Got Rhythm;” “That Certain Feeling;” “Liza;” and “Who Cares?”  Montfort played American genius with a skill driven by magical virtuosity that nearly took one’s breath away.

A quick dip into a Montfort composition gave us “Jinglebows.”  This is a short witty navigation of a Christmas treasure gift wrapped in astonishing skill.  The next composer once remarked that his "only desire (was) to write music in which nothing is missing and nothing is superfluous."  Barcelona born Frederic Mompou (1893-1987) was represented by his composition “Cancion y Danza 6” and the audience in turn found themselves stirring to a piano sweetheart rustle with matador footing, senorita stomping and plenty of laughter dancing on keys.  Montfort ended his program with the last two movements of “Brazilian Cycle” by Villa-Lobos.  In Montfort’s hands this is a keyboard glide on a jungle chariot.

Soul igniting, jewel-studded piano by Seth Montfort.  Zowie Tomatoes!  He really can play all that.

This coming Friday night, the 25th, Montfort shares the stage with Texan Lisa Cheryl Thomas on piano, Native American flute and percussion.  They will be performing famous, historic, but infrequently performed Native American inspired compositions.  And don’t doubt for a minute the span of its musical inspiration.

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