Good 'Luck' for those who saw it

Michael Reckord, Gleaner Writer

Under the auspices of the Jamaica Music Teachers' Association, Guyanese concert pianist and music professor, Ray Luck, gave generously of his music in a recital at the University Chapel, Mona, last Sunday evening.

He played almost continuously, with only brief periods of rest between the items. Additionally, in response to enthusiastic applause and cheers as the concert formally ended, he rewarded the audience with not one, but two encores.

Watched by the patron, the vice-chancellor of the university, Professor Nigel Harris - himself Guyanese - the recital had yet another regional component, as sandwiched between the classical pieces were a couple of up-beat Trinidadian folk songs by a Guyanese composer.

Luck, a small man, was dressed simply in a long-sleeved white shirt and black trousers as he walked from the vestry to the altar area of the chapel where the grand piano waited for him to begin the recital. The applause that greeted him was more than a formality; many in the audience knew him, both personally and from his music.

He has played publicly in Jamaica before and has long been conducting master classes and adjudicating for music festivals in the Caribbean - as well as in the United States and Europe.

A recipient of several professional awards for his musical achievements and activities, including Guyana's Cacique's Crown of Honour, Luck has performed in numerous concerts and recitals around the world. He graduated from Indiana University with the Doctor of Music degree with high distinction.

Focused and composed

Mozart's Sonata in B Flat Major K. 570 was the opening item. A beautiful, lyrical work, at times very cheerful, at times meditative, it was composed in Vienna in 1789 and turned out to be the penultimate of the composer's 18 piano sonatas.

Luck seemed completely focused on the piano as he played the piece - indeed, as he played all the works that evening - with head slightly bowed over the instrument, torso gently swaying in time to the rhythm; oblivious, apparently, of those around him. Unlike pianists who adopt the Liberace style, are showy and full of flourishes, with eyes often on the audience seeking admiration and approval, Luck was content to let the music, not his personality, evoke responses.

After the 20-minute sonata, Luck popped back into the adjoining vestry for a minute or two - to sip some water perhaps, or just take a few deep breaths - then back he came for Schumann's Six pieces from Bunte Blatter, Op. 99 (translated freely as 'Faded Leaves'). The programme informed the audience that their moods represent two of the composer's imaginary figures, Eusebius and Florestan, who inhabited Schumann's psyche and represent introspection and impulsiveness. Those two qualities certainly were apparent in the music, which was, at various times, quick and happy or slow and serious, though never funereal.

The other Schumann piece, Novelette in D Major, Op. 21, No. 2, was strong and full of passion. Supposed to be one of the composer's happiest works, it was followed by the equally cheerful Trinidadian folk songs composed by Hugh Sam of Guyana.

The programme notes stated that Sam, a graduate of the Manhattan School of Music and Brooklyn College, has, among other things, composed a ballet and a work called Trinidadian Rhapsody for piano and steel orchestra, which was premiered in 2004 in Port of Spain by Luck and the University of the West Indies' Steel Ensemble. He is an arranger of many genres of music, including Caribbean folk songs and Broadway musicals.

Less pleasure

Le Tombeau de Couperin (Couperin's tomb) by Maurice Ravel followed the folk songs. A work in six movements (Prelude, Fugue, Forlane, Rigaudon, Menuet and Toccata), it did not initially give the aural pleasure that the earlier items had. The earlier movements confined the pianist almost exclusively to the middle of the keyboard, and arguably lacked variety.

The last two movements, however, were full of martial spirit, marching feet and drums. Ravel composed the suite in tribute to harpsichordist and composer Francois Couperin, and dedicated each piece to one of the composer's friends killed in World War 1.

Gabriel Faure's four-minute Nocturne No. 7 in C Sharp Minor, Op. 74 was the final listed item. Its subtlety was well caught in the programme's note: "The modal harmony with frequent overlapping dissonance gives the long melodic lines a grave beauty and emotional depth."

Much easier to appreciate were the two brief encores - and the applause indicated the audience did find them so - Villa-Lobos' power-packed Polichinelle and Schumann's popular, exquisitely beautiful, Dreaming.

Perhaps because of the threat of rain (in the context of the previous days' floods and the attendant damage to roads), too many classical music lovers stayed away from the recital and the chapel was less than half full.

It turned out, however, that the weather was as delightful as Luck's performance.