Reviews

CDiscoveries

The Piano Edition

By Dennis E. Ferrara

ON THE TOWN Magazine, August 2002, Flint, Michigan

Mortensen Plays the Boogey Man

Private Label

Recorded at Cedarville University, Cedarville, Ohio, February 2001

Sonata in C major, Sonata in B minor, Sonata in D major (D. Scarlatti)

Variations on "Ah, vous direz-je Maman" (Mozart)

Fandango by Candlelight (Granados)

Three Romances, Op. 28 (Schumann)

Scherzo in C# minor, Op. 39 (Chopin)

The Boogey Man (J. Mortensen)

Here is an interesting recital by Dr. John Joseph Mortensen, Associate Professor of Piano and Director of Keyboard Studies at Cedarville University. He received his B. Mus. A. from the University of Michigan, Ann Arbor, and his Master's and DMA from Maryland-College Park. He performs in the midwest.

The selection of compositions is varied, ranging from 18th century to the 20th century. The Scarlatti sonatas are cleanly and concisely performed. Tempos are clean and brisk. The Steinway D instrument utilized in this recording is captured extremely well. The charming Mozart theme and variations on the popular French tune, "Twinkle, twinkle, little star" is played with simplicity and sincerity. The Granados reflects Dr. Mortensen's fine piano tone. This typically Spanish composition has the color and flavor of post-romanticism found in Spain before World War I.

The Schumann Romances are wonderful and basically unknown compositions to most concert audiences. Too bad. Mortensen's interpretation of the three pieces is artistically and creatively conceived. His readings are full of warmth, romanticism, and expression.

The Chopin Scherzo is beautifully conceived throughout. The pianist's technique is most evident. The piano tone is subtle, warm, expressive and explores the depth of nuance. Mortensen seems to have an affinity for romantic music. He fully understands the art of phrasing as well as utilizing the damper pedal of the piano to fine effect. Mortensen's own composition written in a 20th century flavor and form certainly is tonally interesting for any type of audience whether it is mature or younger.

This excellent artist enjoys playing the piano and it shows in this recital. He has a fine technique; however, this is not virtuosity for its own sake. Rather, this pianist combines bravura with sensitivity and expression for the musical phrase. This is an art unto itself. This CD is highly recommended.

Dennis E. Ferrara

The Fresno Bee

Fresno, California

February 23, 2000

Pianist brings energy and bravura to performance
 

By George Warren 
Special to the Bee
 (Published February 23, 2000)

The Music Department at Fresno Pacific University presented pianist John Joseph Mortensen in recital Friday in the atrium at McDonald Hall. The program featured the premiere of "Sonata No. 2" by Fresno composer and Pacific University Professor of Music Larry Warkentin, and included music by Schumann, Chopin, Heitor Villa-Lobos and J.S. Bach, arranged by Ferruccio Busoni. 

The atrium seated about 120 people, with the front row surrounding the piano. This intimate setting created the impression that the department invited a group of friends for an evening of music and camaraderie. Mortensen descended the flight of stairs, sidestepped the front row, bowed, then addressed the audience with an introduction to the first selection, Fugue in D Major, by Bach and Busoni. 

In the opening minutes, Mortensen played in a Baroque style, laboring over the independence of line, bringing out the fugue subject above the counterpoint, and playing in strict time. When the piece changed to the minor mode, the darker harmonies lent an air of passion and the playing became more expressive. With the return of the major mode, the piece broke out of the clouds and rang forth triumphantly. 

Next, Mortensen performed four movements from Schumann's Kreisleriana, Op. 16. Mortensen managed these movements with some difficulty, mostly because of the acoustics of the hall, which washed out a good portion of the detail in the dense sections. 

With the Chopin, Mortensen demonstrated the skill promised by his billing. He brought off all of the tricks successfully and made one understand why pianists like Chopin so well. 

The first half of the program satisfied the requirements of a serious piano recital. The fun began after the intermission. Warkentin's Sonata consists of four movements, each featuring a different hymn tune employed as a small part of the musical material. The first movement recalled Charles Ives' use of hymn tunes by employing fragments rather than long quotations. The third movement set a melodic line consisting of all twelve notes of the chromatic scale against a comparatively tonal accompaniment. This produced a hauntingly beautiful dissonance. 

Mortensen played from the score and brought off the piece skillfully, if not to perfection. His best rendering came in the fourth movement. Here, the energy heightened with an extremely fast tempo, and the form provided exactly the right amount of repetition of the main themes. 

The last pieces on the program, "Festa no Sertao" and "Dansa do Indio Branco" by Brazilian composer Heitor Villa-Lobos, danced and stormed all over the keyboard. The music imitated jungle drums and birds shrieking through the canopy. The pianist brought off every gesture with an abundance of energy and bravura. 

In the first of three encores, he ripped through Joplin's "Maple Leaf Rag," with the accuracy of a player piano. Then he played "Passtime Rag No. 4" by Artie Matthews, and finally, Gershwin's "I've Got Rhythm." These final three selections brought the intimate evening to an apt close. Here, one sensed that Mortensen gathered us around the parlor piano to hear him play his favorite music. 

George Warren, Ph.D. teaches music theory at California State University, Fresno.