2008 Woodie Awards
Pianist Fanning finds the keys to success
Hans Manzke
Issue date: 3/11/04 Section: Arts
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Diana Fanning's Sunday afternoon recital sparkled with sonic enunciation and technical prowess. The Middlebury College piano teacher exhibited virtuosic abilities and scrupulous attention to detail. After years of extensive touring in the United States and abroad in London, Paris, Geneva, Amsterdam and Munich, Fanning has developed her own conscientious, unwavering style, at once paying homage to and reworking the masters. Her renditions of Beethoven, Brahms and Schubert were punctuated by a tremendous performance of Monica Houghton's 1998 "Sonata," the sole modern work on the concert bill.
The level that a successful concert pianist, or any professional solo artist for that matter, must maintain is astonishing. It is always striking and impressive to see someone who has the ability to memorize and internalize both the basic tonal and dynamic aspects of a piece, as well as its slightest nuances over tens of thousands of notes and figures.
Fanning has performed with the Vermont Symphony Orchestra, the Rugierri Chamber Soloists, the Davydov-Fanning Duo and as a soloist with the Takacs String Quartet. Taught by Ruth Geiger of New York, she also attended the Conservatoire National de Paris. While her resum speaks for itself, Fanning's true strength lies in her ease and grace.
Fanning began her program with Beethoven's "Eight Variations in 'Une fivre brulante,'" a perfect choice considering the piece accords well with her individual playing style. The audience immediately warmed up to her playful, expressionistic interpretation.
Juxtaposed perfectly with the Beethoven was a collection of Brahms Intermezzos, which were more methodical. Here, Fanning exhibited the ability to perform a fundamentally different piece with the same level of passion and accuracy. One is immediately taken with the narrative quality of this selection of Brahms' work - there exists a clearly defined rising action, a transcendental climax and a more or less calming denouement. The apogee occurred in the Intermezzo in E-flat minor, which strides forth in thunderous chords and an emergent melody.
The level that a successful concert pianist, or any professional solo artist for that matter, must maintain is astonishing. It is always striking and impressive to see someone who has the ability to memorize and internalize both the basic tonal and dynamic aspects of a piece, as well as its slightest nuances over tens of thousands of notes and figures.
Fanning has performed with the Vermont Symphony Orchestra, the Rugierri Chamber Soloists, the Davydov-Fanning Duo and as a soloist with the Takacs String Quartet. Taught by Ruth Geiger of New York, she also attended the Conservatoire National de Paris. While her resum speaks for itself, Fanning's true strength lies in her ease and grace.
Fanning began her program with Beethoven's "Eight Variations in 'Une fivre brulante,'" a perfect choice considering the piece accords well with her individual playing style. The audience immediately warmed up to her playful, expressionistic interpretation.
Juxtaposed perfectly with the Beethoven was a collection of Brahms Intermezzos, which were more methodical. Here, Fanning exhibited the ability to perform a fundamentally different piece with the same level of passion and accuracy. One is immediately taken with the narrative quality of this selection of Brahms' work - there exists a clearly defined rising action, a transcendental climax and a more or less calming denouement. The apogee occurred in the Intermezzo in E-flat minor, which strides forth in thunderous chords and an emergent melody.