Sarah Chan, Pianist in ReviewSarah Chan, piano Merkin Concert Hall at the Kaufman Music Center, New York, NY October 17, 2013
Having reviewed pianist Sarah Chan in Schumann’s A Minor Concerto just this May (hers being just one of several concerti in a packed program), I wondered how the same pianist would fare in a calmer setting; five months later, Ms. Chan’s own intimate solo recital this week gave this listener (and the pianist herself) just that opportunity. Holding the reins firmly, she emerged as a confident young soloist, with solidity, strong projection, and a winning stage presence.
In a program of essentially Spanish and French music (if France is allowed to claim the Polish-born Chopin for the occasion), Ms. Chan chose mostly short works, the longest lasting from seven to nine minutes. It was an appealing array seemingly designed not to tax the layperson’s attention, so to this veteran listener it seemed to be over in a flash. I liked, though, that Ms. Chan resisted the gargantuan programming that so many young pianists’ recitals display. I also liked that Chan followed her preferences and did not feel compelled to offer a survey course on each style of the piano literature from Bach onward. There was still plenty of contrast.
Enjoying the sheer variety among works, one almost missed the fact that there was sometimes not quite as much variety within a work as one might want. The opening work, Claude Debussy’s “Bruyères” (Prélude No. 5 from Book II), was louder throughout than what I’ve usually heard, and I missed the nuance that makes small dynamic ranges colorful (the composer’s own markings for this piece ranging only from pianissimo up to mezzo-forte, aside from effects of timbre, register, and pedaling).
In Debussy’s “La Soirée dans Grenade” from Estampes, the range was greater, but I still wanted more nuance in the melodic inflection, without which the singing Spanish lines sound stiff. More rhythmic bending could also have helped to convey the feeling marked as nonchalamment gracieux. While Debussy was known as a pianist who avoided histrionics, he would still enjoy pushing and pulling a phrase, as demonstrated in his 1913 piano roll recording of this very work.
Maurice Ravel’s “Alborada del Gracioso” from Miroirs, made a great pairing with the Debussy, and served as a virtuosic backdrop for the Spanish music to come. Ms. Chan expertly handled Ravel’s many challenges, among them her admirably rapid repeated notes. More of a final burst would have capped the piece off perfectly (and perhaps planning the earlier dynamic pacing accordingly), but maximizing each thrill seemed a lower priority than momentum throughout the evening.
Closing the first half were Joaquín Turina’s “Seguiriya” from Danzas Gitanas, Op. 84, Isaac Albéniz’s “Asturias” (“Leyenda”) from Suite Española, Op. 47, and Albeniz’s “El Albaicin” from Iberia, Book III. All three showed Ms. Chan to be a pianist of ample technique and solid command. She also has the resources to achieve a large palette of colors, which I hope she will exploit more and more. Her Iberia selection has markings ranging from ppppp through fff, so moderation can be checked at the door. For some reason the middle register of the concert grand seemed unusually heavy, eclipsing important chords in the outer registers, but Ms. Chan was unruffled.
The entire second half of the concert consisted of the music of Frédéric Chopin. Opening with his Barcarolle, Op. 60, the pianist seemed much more comfortable than in the first half. Clearly this pianist knew the repertoire inside and out. There was also more of the savoring of harmonic resolutions that I had been craving earlier. A string of six Études (from both the twelve op. 25 and the twelve Op. 10) followed. The Étude in A-flat major, Op. 25 No. 1 (“Harp”) opened the group, a gentle choice, though still too fast for my taste and again at the mercy of a dominant middle register. The best was yet to come in the Étude in G-sharp minor, Op. 25, No. 6 (“Thirds”): it sparkled brilliantly as one of the gems of the recital. There ought to be a special award for a performer who can make this devilishly difficult Étude a highlight, as it is the nemesis of so many pianists! Also quite well executed was the Étude in C-sharp minor, Op. 25, No. 7 (sometimes called the “Cello” Étude). Though it is a slower, more melodic Étude, it should not be considered any sort of “breather” – it is tremendously difficult to pull off the pacing and balance, and Ms. Chan did extremely well. In the Étude in B minor, Op. 25, No. 10 (“Octaves”), the pianist surprised us with a ferocity that had been largely hidden up to this point. At moments where many pianists grab a chance to relax, she stormed ahead, and her fearless finale was refreshing. She should keep playing these pieces to the hilt.
The Étude in C minor Op. 10, No. 12 (“Revolutionary” – mistakenly listed on the program as C-sharp minor), came off as a bit glib for this listener. Heroic gesture became efficiency and dispatch, as if the end of the recital loomed too closely to resist racing. Also, by following it (without pause) with the buoyant Étude in G-flat major, Op. 10, No. 5 (“Black Keys”), its dramatic impact was further undercut. These pieces cease being mere “Études” the minute they are played in concert, so they need to be treated as any delicate works of art.
All ended with the much-loved Ballade No. 3 in A-flat major, Op. 47. Despite a not-quite-ready left hand at the start, it closed the program overall with warmth and triumph, boding very well for things to come for Ms. Chan. She already holds an impressive list of accomplishments, academically and musically, and one expects similar achievements in her continued career. A good-sized audience gave warm ovations and received Debussy’s Doctor Gradus ad Parnassum as a parting lagniappe.