In the five years since his debut in the Bay Area, Arcadi Volodos'
virtuosity became even more grounded and impressive, his artistry further
developed, but...

At 26, he was a bolt of lightning, brilliant, passionate, surprising,
and just plain amazing. Now, at 31, he is the same old, same old - except
for the surprise. What's wrong with being one of the finest, most
"listenable" pianists in the world? Not much, but...

The thing is that Volodos could have become an even greater *musician*
by now, and my money is on him, that he will yet do it.

The first half of the recital was well programmed. If you're a Russian
pianist and want to play Russian music, learn from Volodos and present
music that's not old hat. Three shortish works by Scriabin ("Enigme,"
"Guirlandes" and the "White Mass" piano sonata) were both "new music"
to most of the audience and served as perfect showcase for Volodos'
clear, clean, singing, full-of-colors sound. Ditto for 10 pieces by
Rachmaninoff, ranging from gut-wrenching preludes to a cute Humoresque
and Volodos' own charming transcription of the "Polka italienne."

All was well with the world - and there was a well-deserved ovation at
the end of the Rachmaninoff set - but something went slightly askew after
intermission. The notes, even the phrases, of the Schubert Sonata in
A-flat major were all there, bright and right, but the whole work could
have been titled "Artist in Search of Music." The overall feeling was
more a continuation of the Rachmaninoff than Schubert proper, and whatever
it was, the piece came across with something missing. I don't remember
a similar problem in Volodos' Berkeley debut or his previous Davies Hall
recital two years ago.

Three works by Liszt returned the concert to the sky-high level of
the beginning of the evening, especially the expressive - and yet not
romantically excessive - "Petrarch Sonnet," but "Consolation" No. 6 and
"Il penseroso" were also excellent.

The Liszt transcription of Saint-Saens' "Danse macabre" was another
dazzler, but... I, for one, wasn't scared, just as I wasn't moved by the
Schubert.  Yes, perhaps that's what missing from the great arsenal of
this still-young pianist: making a true and lasting emotional impact.
But, again, at 31, he has lots of time to become "all he can be," which
is a great pianist *and* great artist.

Janos Gereben/SF
www.sfcv.org
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