Key Pianists Presents Sara Davis Buechner in Review

Key Pianists Presents Sara Davis Buechner in Review

Key Pianists presents Sara Davis Buechner, piano,
Recital of Japanese Piano Music and Ibert’s Histoires
with guest artist, Yayoi Hirano, Noh/Kabuki Mime and Mask Dancer
Weill Recital Hall at Carnegie Hall, New York, NY
June 1, 2017


Sara Davis Buechner needs little introduction within the world of pianists. She has enjoyed a high- profile career for several decades, launched in part by numerous major prizes, and she has played with many of the world’s finest orchestras and in the most prominent concert venues. Her biography states that her repertoire of more than 100 piano concertos ranges “from A (Albeniz) to Z (Zimbalist),” and I can attest that what is in between – along with her discography – is a tantalizing array of discoveries and treasures.

While it is no secret that Ms. Buechner’s repertoire ranges from the mainstream to the exotic and underappreciated, including such names as Friml, Suesse, and Rózsa, nothing prepared me for the power and originality of her Japanese-themed program at Weill Hall. It went far beyond what one might expect as a doffing of the hat to Japan (2017 being her 30th year as a Yamaha artist). She plumbed the depths of a pianistic goldmine that has simply remained largely untapped here in the US. The works of Kouji Taku (1904-1983), Yoshinao Nakada (1923-2000), and Yukiko Nishimura (b. 1969) were revelations.

The Japanese works on the program that Ms. Buechner did not discover or rediscover, she commissioned, namely the first work Ten Etudes for Piano (2010-2011), by Yukiko Nishimura (a pianist in her own right). From the very first Étude, Snowy Sky, one was mesmerized by the kaleidoscope of colors, shimmering evocations that the pianist projected with crystalline sound, vivid tonal imagination and exceptional control. There emerged a definite kinship with works of the French Impressionists here, and yet this music was distinctly Japanese and bracingly new.

Ms. Buechner is capable of every shade on the musical spectrum and played each successive etude somehow more stunningly than the last. The set of ten pieces demanded nearly a half hour of pianistic wizardry of all kinds, but Ms. Buechner never flagged, and I’m happy to report that the listeners did not either. Fanfare dazzled with its energy and brilliance. Windmill intrigued with its tone-painting, augmented in sections by percussive knocking under the keyboard. Drops drew out more of the quieter colorist in Ms. Buechner, and the dance-like Hide and Seek was feisty and rambunctious through fistfuls of notes and hand-crossings. There were elements of modern jazz and minimalism apparent, but no piece in ten could be stylistically pigeonholed.

There was added fun in observing specific pianistic challenges as well. While Tango, for example, was wildly virtuosic all around, Daydreaming featured left hand alone, and Rock Candy exploited the right hand alone (the much less common solo hand). Harvest Moon, a transcription of one of the composer’s orchestral works, capped off the set with exuberance. These pieces will undoubtedly attract many pianistic daredevils and musicians, though it is difficult to imagine Ms. Buechner’s renditions being surpassed. She has, in a sense, created these pieces as well as inspiring them, and she is one with them. In the words of W. B. Yeats, “Who can tell the dancer from the dance?”

If the influence of jazz was prevalent in Ms. Nishimura’s pieces, it was even more the case in Variations on a Theme by Poulenc by Kouji Taku (1904-1983) a classical pianist (and student of Alfred Cortot) who had a lifetime of experience with French cabaret style. Ms. Buechner’s own excellent notes tell us that the Taku work was published in a 1960 Zen-On anthology and had almost no pianists perform it since its composition in 1957, except for Arthur Loesser in 1961, and, of course, herself. It is a fantastic (re-)discovery based on Poulenc’s well-loved Mouvement Perpetuel No. 1, a sweetly nonchalant theme with an ambling B-flat bass, a perfect point from which Taku could launch into an ostinato variation, tango, blues, and then samba-like flights of fancy. What a fantastic finale to the first half – bravissima!

As hinted above, a French tone to the evening was never far, but it was overt, of course, in the inclusion of Histoires (“Stories), the marvelous set of ten character pieces by French composer Jacques Ibert (1890-1962). Each of the ten miniatures was paired – incorporating the Japanese theme – with a performance by guest Kabuki mime and mask dancer, Yayoi Hirano, wearing traditional masks that she had created. One almost forgot about the pianist, playing from score (as she did, understandably, for the entire evening), with a string of varied masks poised on the piano lid; the music, however, was never forgotten. Ms. Buechner presented the “stories” vividly through her sensitive playing, as did Ms. Hirano with her movements. It was an intriguing conception, even to this listener who loves this music by itself.

This revelatory evening closed with Sonata for Piano (1949-1969) by Yoshinao Nakada, known in the US chiefly for some popular student miniatures, it seems. The Sonata is a large, complex, neo-Romantic work that represented a great struggle for the composer (as one might surmise from the composition timespan), and it will frankly take this listener a bit more listening to fully embrace. The composer, an ex-kamikaze pilot who survived World War II, poured his torment into it – that was quite clear – and moments were extremely stirring. I am grateful to Ms. Buechner for my first hearing of it, as well for first hearings of Taku and Nishimura, and I hope for more.

Loud ovations were met with some endearing quips from the pianist about encores being an unnecessary delay before the first martini – plus a poem and an original haiku by the pianist about the NY Mets’ recent performance (translated). I wouldn’t know about the Mets, but the performance I attended was phenomenal! Long may Ms. Buechner continue to find and commission great treasures to play for us! She has already given much to music, but her Japanese repertoire may become the most important contribution yet. She is well-situated to do more, as she now divides her time between Takatsuki, Osaka, Japan and Philadelphia, where she joined the illustrious faculty of Temple University in 2016 – lucky piano students!

Kudos to everyone involved, particularly to Key Pianists and Terry Eder for making it happen (see Frank Daykin’s interview from 9/14/16 Unlocking Beauty: A Conversation with Terry Eder).