Kaminska played Bach. She needn't have reminded the audience that her black-and-white portable is sometimes referred to as the "small sister of the organ" since she made the most of the idea in deed. Transcendence wasn't guaranteed, even from a player who has a doctorate in accordion performance. The quality that makes her passage into art so natural is her total manipulation of every aspect of the instrument.
In the Prelude and Fugue in A minor, BWV 543, she was as dexterous as any keyboard player, delineating fugal voices in individual shades. She exploited her instrument's advantage over the harpsichord for which Scarlatti's sonatas were written, shaping phrases with a subtle dynamic scheme. She was an illusionist in a piece twice removed from its original incarnation, Paganini's Etude in E major, "La Chasse," in a transcription for accordion adapted from a Liszt arrangement. With figures in different registers speaking to each other, she was no less virtuosic than Joshua Bell.
Kaminska didn't neglect the accordion's folksy roots; the program's second half was devoted to Piazzolla. Here she was joined by partners on violin, bass and guitar who were plenty fine. But one operated at a completely different level.
Argentine pianist Octavio Brunetti, a smooth synthesis of classical technique and jazz liberation, was a monster talent. Every note was part of a bigger idea. He referenced Debussy's colors and Liszt's virtuosity, and ventured into gorgeous harmonic complexities. He and Kaminska shared an understanding of what makes Piazzolla tick: the swagger, the all-is-lost moments of sweet desperation, the structured chaos, and all the micro-shapings that make those moods so sharply felt.
Contact music critic Peter Dobrin at pdobrin@phillynews.com or 215-854-5611. He blogs at www.philly.com/philly/blogs/artswatch.
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