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different people who required emergency 1exmrNmt.ia" CKCQ food in Waterloo Region last year, 48% mania Tofal collected as of June 2fith: Our Goal: 5? I 0,000 were children under the age of 18. $17H69 iii iv? tupper (net purktng at man 664-3149 wwu dcxshugcgnl AUTG’REPAIR LTD. Ex jrexelittt, t “on. -""", Nine West you!“ M Franco Sarto oar “gal Hush Pupptes 1369 King Sun-1. tit, Jacobs 16 Princess St E. Waterloo (comer ol Process ' magma] 7 _ Tues, 1M; Wed. - Sat 10-5. Closed Sun. & Mon 885-1810 Tselyakov sounds refreshing ust when you wonder if anything could be more familiar, or even boring an the broken-chord sig- nature of Beethoven's "Moonlight" Sonata, some- one comes along who plays BY PAULINE chu Fur the Chronicle A mum DEALER SHOPPE 725-0479 Garage Since 1 978 . Brakes . Front ends . Wheel alignment . Mufflers/exhaust . Cooling systems . Tune ups . Oil, lobe, service . Tire Service Your Uptown the piece as if it were a world premiere. Performing before a capacity audience of more than 80 at the K-W Chamber Music Society last Friday, Russian-born pianist Alexander Tsetyakov (rapidly becoming a season "regular" here) brought his refreshing approach to a work that often suffers from excessive maudlin sentiment, or glibly robotic precision. With a tonal nuance here, a rhythmic hiatus there. the emphasis behind all three movements seemed to be on what could be done for the "Moonlight" (Sonata No.14, 0p.27, No.2, in C-sharp minor) rather than to it. For one thing, Tselyakov has that special touch that never neglects a repeated note. That alone would have been enough to flex even the most jaded ear - and who doesn't secretly live for such redemptive moments? Tselyakov worked similar magic on Claude Debussy's popular Estampes suite of Pagodes (Pagodas), Soiree dans Granada (Evening in Granada) and lardins sous la pluie (Gardens in the Rain), drawing evocative pictures from the very willing and resonant KWCMS Steinway. The third segment in partic- ular reminded listeners that rain on one's garden is not always a gentle mist; a few hailstones and rolling thun- der are part of the impres- sionist's palette/oo, Aléxander Tselyakov brought his refreshing approach to clas sic works from Beethoven and others to his performance at the K-W Chamber Music Society. included another memo- rably expressive event from a very different source, that of Canadian composer Srul Irving Click Or.1934). His Angel's Kiss: Ballade for Solo Piano was completed within the past year especially for Tselyakov. and this appccia- tive KWCMS gathering was among the first to hear it. Ballade's extended single movement is threaded through by a soulful original theme drawn from a Jewish folk and liturgical song that exquisitely pervades all of Glick's compositions. By turns dancing and exuber, ant, or pensive and even anguished, the work is a true journey of the soul, very much in the spirit of ancient Hebrew psalmists who knew intimately what it means to be led "through the valley of the shadow of death" and then lifted lyrically (by angels!) up into the hills of praise. After such a full and mov, ing evening and despite an overly-crowded room. fans called Tselyakov back for two encores. He chose Alexander Scriabin's gently whispered Album Leaf and the abruptly contrasting, very Rachmaninoff-like. Etude (0p.8. No.12) It was all music one could travel the world with, but if choosing among such immense richness and power. who would one take to the proverbial desert island? Probably Srul Irving Click, whose inate spiritual" ty takes music's art that one mystical step further. amateur musician and Jull- time student at Waterloo Lutheran Seminary. Pauline Finch is a local Wm!) "om