Joanne Chang, Pianist in Review

Joanne Chang, Pianist in Review
Sally Shorrock, flute and Tienni Chen, piano
Multicultural Asian and Italian Concert Series
Tenri Cultural Institute of New York; New York, NY
March 12, 2011

Joanne Chang

While all eyes were on the news of the earthquake in Japan last weekend, it was a particularly meaningful experience to visit the Japanese Tenri Cultural Institute of New York, where, along with an art exhibit (Jinwon Chang’s “Releasing the Wounded Soul”), there was a concert by excellent Taiwanese pianist, Joanne Chang. Thanks to a Diversity Grant from the City University of New York, Ms. Chang performed a mostly modern recital centering on Asian (especially Taiwanese) and Italian compositions, both as soloist and in collaboration with musical colleagues. While the musical reasoning behind the Italian-Taiwanese theme remains a bit of a mystery (aside from certain elements common throughout the world’s music), it was a program one would be hard pressed to find elsewhere, delivered with interesting spoken introductions and plenty of polish.

Ms. Chang opened with “Lantern Festival” from “Taiwan Suite” by Shui-Long Ma (b. 1939), a work closely tied to the folk bases of much Chinese music. Alternately celebratory and dreamy with glissandi and sparkling pianism, it brought the listener into the world of Taiwanese music in a most accessible way. Representing a younger generation of composers, Hsin-Jung Tsai (b. 1970) next introduced the world premiere of her own composition, “Precipitation.” Preceding the music was a short film about Chinese art, which I could barely see behind a giant paper globe that was hung as part of the art installation. Despite this frustration, and that of not being able to fully understand the very quiet verbal introduction, one could appreciate the many interesting evocations of water in the music (as the title suggests). One was tempted to liken this and some of the other Asian works to Debussy and other Impressionists, but it might be putting the cart before the horse, given the influence of Asian music on Debussy and his followers; suffice it to say that this work was sensitively colored in the manner of the Impressionists, and that thanks to the skills and imagination of the pianist, it captured its listeners.

“Due Canzoni Popolari Italiane” by Alfredo Cascella (1883-1947) brought the program to its Italian component in lyrical and expressive melodies, followed by the younger representative of Italy, Davide Zannoni (b. 1958) whose work “Flexible Desires” was given its world premiere. The piece focuses on the interaction and struggle between tonal centers and chromaticism, along with other corresponding dualities. Some warmly romantic harmonies resulted from this interaction (at times surprisingly reminiscent of Piazzolla), and the pianist expertly brought out the contrasts and cohesiveness.

In something of an anomaly, Lowell Liebermann’s Sonata for Flute and Piano, Op. 23 came next. Though the highly admired composer, Liebermann, is neither Italian nor Taiwanese, his Flute Sonata seems to have gained honorary citizenship on this themed program and was welcome in a brilliant performance by Sally Shorrock with Ms. Chang.

“Chinese Festival” by Young Chen (b. 1954) arranged by Lina Yeh (b. 1955) showed an eclectic style combining the Mozartean (in Alberti basses), the Schubertian (in some of its harmonies), some Gershwinesque touches, and more, all with the melodies and spirit of a Chinese celebration. Ms. Chang navigated the range of styles effortlessly, with the help of Tienni Chen playing Secondo. The pair concluded with the N.Y. premiere of “Encore Oublie” a short, jazzy spirited romp by Rolf-Peter Wille (b. 1954), currently living in Taiwan. The pianists made the most of some antics here (popping up and down from the piano bench), much to the amusement of the audience. All in all, it was an intriguing sampling, and Ms. Chang is to be congratulated for devoting her considerable gifts to this interesting endeavor.

Share
by Rorianne Schrade  for New York Concert Review; New York, NY

Camerata Ireland in Review

Camerata Ireland in Review
Barry Douglas, music director and piano
Celine Byrne, soprano
Zankel Hall at Carnegie Hall, New York, NY
March 5, 2011
 

Camerata Ireland

Every now and then, amid the hectic New York concert season, there is an evening that reminds me how much I love my reviewing job; the chamber orchestra Camerata Ireland, on a US tour through March, provided just such an occasion last weekend in a perfectly magical concert that coupled Irish music with works by Mozart (a surprisingly winning combination). At the center of it all was pianist, arranger, and conductor, Barry Douglas, a musical titan whose energy is transmitted in life-affirming performances.

In a rather unassuming opening, Mr. Douglas and the orchestra played his own arrangements of two Nocturnes of John Field (1782-1837), Nos. 1 and 5, originally for solo piano. The orchestrations were tasteful and spare. Though my preference is still for the more intimate originals, it was a natural to give the orchestra some music of Field, as he was one of the first important composers from Ireland, welcomed in Russia for decades with perhaps the same fervor as was Barry Douglas himself as victor in the 1986 Tchaikovsky Competition in Moscow. It would be interesting to hear Mr. Douglas with the Camerata Ireland in one of Field’s Piano Concerti (or even just a movement, say, the Larghetto of the Sixth Concerto).

Rising star Celine Byrne joined the orchestra to sing “Porgi Amor” from Mozart’s “Le Nozze di Figaro.”  Composed when John Field would have been around four years old, it enjoyed a fresh hearing from this listener, because of both the fascinating program sequence and Ms. Byrne’s excellent performance. Her full, pure sound and lovely presence will make her one to follow.

Mr. Douglas moved from the role of operatic conductor to that of piano soloist (conducting from the bench) in Mozart’s Piano Concerto in A Major, K. 488 (also composed in 1786). One of the best pianists I’ve seen in this dual role, Douglas drew perfect responsiveness from his orchestra. One marveled in the first movement at how clearly he projected his conception physically and musically so that there were no seams in the ensemble; one marveled perhaps more, though, at how he could create (while multi-tasking) a realm of utter introspection in the breathtaking Adagio. The final movement had just the right edge-of-the seat energy to leave the audience clamoring for more.

After intermission came two traditional Irish folk songs (again arranged by Mr. Douglas), “I Wish I Was in Carrickfergus” and “Last Rose of Summer” sung by soprano Celine Byrne (who had changed from a black dress into a brilliant emerald green). These were skillfully arranged and expressively sung, but the best Douglas arrangements of the evening were “Druid Dances” by Edward Bunting (1773-1843). Perhaps not having to incorporate piano filigree or to accommodate a vocal part was liberating, but whatever the case, Douglas arranged this set with unfettered orchestral imagination, alternating sentimental song with freewheeling fun.

Returning to Mozart (who shared a good 18 years on this earth with Bunting) the orchestra then gave a knockout performance of the Symphony No. 40 in G Minor to close the evening. Starting the work more briskly than one usually hears it (with Douglas barely arriving onstage before the opening upbeat), they gave a performance that was nonetheless well articulated, cohesive, and commanding all the way through to the exciting end. Audience members jumped to their feet in passionate ovation. Some of this reaction may have been to the conductor’s “rock star” charisma, and some of it may have been gratitude for a great performance, but either way, everyone won.

Douglas and the orchestra gave an encore of Phil Coulter’s touching “Home Away from Home,” which I heard last when I reviewed them in March, 2008 (NY Concert Review Volume 15, No. 2). This time was even more beautiful. Can they possibly outdo themselves next time? I for one won’t miss finding out.

Share
by Rorianne Schrade  for New York Concert Review; New York, NY

Dan Franklin Smith, piano: “La Vida Iberiana” in Review

Dan Franklin Smith, piano: “La Vida Iberiana” in Review
Musica de Camara
St. Cecilia’s Church, New York, NY
February 18, 2011
 

Dan Franklin Smith

Just less than a year ago, I had the pleasure of giving a rave review to Dan Franklin Smith in a recital of works by living composers. Though that first hearing set the bar very high, I was delighted, in his recent program entitled “La Vida Iberiana,” to find that my enthusiasm for his artistry has not waned.

Mr. Smith embarked on his musical tour appropriately with Turina’s “Sanlúcar de Barrameda,” named for the port in Spain from which explorers Columbus and Magellan set sail. The “Sonata Pintoresca” as it is subtitled, was resplendent with the colors and imagery of Spain (as suggested by titles of its four contrasting movements) and was played with virtuosity and sensitivity. Improvisational transitions that can sometimes sound vapid possessed life and inevitability, while trills that can easily sound meretricious were gripping and heartfelt. Mr. Smith strikes one as the kind of player whose integrity could probably ennoble even the most maligned and cliché-ridden works; in a world where Ravel is used for commercials and Liszt is played by cartoon characters, such playing is a much-needed antidote.

It is always a joy to see the still-underappreciated Mompou on a program, and Mr. Smith’s Cancion y Danza No. 6 that followed was no exception. I would have liked its phrases wrung a bit more of their inherent pathos, but that is perhaps a tall order after the exhausting and exhaustive Turina. It could also be that the piano was not cooperating (an Otto Altenburg in a highly reverberant church), but in any case, there was room for more dynamic nuance.

To close the first portion of the program was Infante’s “El Vito Variations”, which had some audience members humming with happy recognition. Though I confess I’ve always thought of the piece as unlikable kitsch (and yes, there’s some kitsch I like), Mr. Smith’s expert treatment came close to redeeming it for me.

“La Maja y el Ruisenor” (“The Maiden and the Nightingale”) by Granados (from Goyescas) opened after intermission. Once again, the piano did not seem ideally suited to the piece, but the pianist handled the tinnier treble lines with grace.  Following the Granados came Surinach’s Cancion y Danza, No. 1, a nice but contrasting tie-in to Mompou’s work of the same title.

Representing Portugal, Vianna da Motta’s delightfully pianistic “Chula do Douro” (from Scenas Portuguesas, Op. 15) gave another perspective on “La Vida Iberiana,” albeit filtered through Lisztian ears. Mr. Smith played it with élan, setting a good backdrop for the plaintive opening of “Alma Brasileira” (Choros #5) by Brazilian, Villa-Lobos, played with a wonderful coloristic sense and plenty of atmosphere. Iberian influence on the New World entered the program here.

“Sin Rumbo” (subtitled Vuelvo al Sur or “Return to the South”) was a welcome taste of the ever-popular Piazzolla, and Santa Maria (#1 from Plenas) by Hector Campos-Parsi brought the musical tour to the infectious rhythms of Puerto Rico, energetically projected. The recital closed with André Previn’s “Three South American Sketches” (Festivo, Flor de Jardim, Mina d’Agua), played with the same brilliance and panache that I recall hearing when Smith played them last May, though now in a fresh context.

An enthusiastic audience received an encore of the famous Albeniz Tango in D (though the only word of the announcement we could make out was “Falla” so we were quite surprised – a hazard of not using a microphone perhaps).

All in all, it was another success for Mr. Smith, and also for Eve de la O, who has been dedicated to this music series, Musica de Camara, for 31 years.

Share
by Rorianne Schrade  for New York Concert Review; New York, NY

Seunghee Lee in Review

Seunghee Lee, piano
Weill Recital Hall at Carnegie Hall, New York, N.Y.
December 1, 2010

Many pianists enjoy describing their programs and repertoires as “eclectic” lately, and, though the word is a bit overused, a recent recital program by pianist Seunghee Lee deserves that description. In a highly interesting mix of Heitor Villa-Lobos, Robert Muczynski, Francis Poulenc, Frédéric Chopin, Edvard Grieg, and Enrique Granados, Ms. Lee’s recital had something for almost everyone (though perhaps not for those hoping for a heaping helping of the “three B’s” – Bach, Beethoven, and Brahms). What I found particularly interesting was that this pianist seemed to have an equal affinity for each composer in this unusual assemblage. Ms. Lee, who has studied and performed widely and is currently a doctoral candidate at the University of Kentucky, has widely ranging interests and the ability to share them — a valuable combination.

Starting off with Bachianas Brasileiras No. 4 (“Preludio”) by Villa-Lobos, Ms. Lee established a thoughtful tone.  Though, as mentioned before, this recital offered none of the “three B’s,” the presence of the first “B” – Bach – was definitely felt here. Ms. Lee demonstrated beautiful tonal control from its rather stately opening. Occasionally high registers sounded a bit strident, perhaps from want of bass support via more pedal (as Ms. Lee was quite sparing in her use of pedal through much of the evening), but all in all it was a successful opening.

In a change of style, time, and continent, the program then moved to a work by U.S. composer Robert Muczynski (1929-2010) entitled “Desperate Measures” (Paganini Variations) Op. 48.  Based on the famous 24th Caprice of Paganini (the one which inspired Liszt, Brahms, Rachmaninoff, and others), this roughly eight-minute set (written in 1995) shows at times a striking kinship with the Paganini Variations of Witold Lutoslawski (for two pianos, written in 1941), though Muczynski’s work breaks out in far more jazzy directions. Ms. Lee brought out its brilliance, rhythmic energy, and at times, lyricism, though emphasizing the acerbic dissonant qualities more than I’ve heard or would like.

Chopin’s Ballade No. 3 in A-flat Major, Op. 47, followed with a refreshingly gentle opening, though it was overall the least successful work on the program. Little raggedy edges are conspicuous in such an unforgiving piece as this, and there were passages that seemed glossed over, where loud peaks were reached from thin beginnings with no tonal middle ground in between. Also, some inner voices that most Chopin fans know and love were boldly announced at their beginnings, but not followed through to their natural conclusions.

In Poulenc’s Trois Pièces, Ms. Lee seemed much more in her element, reveling in the dreamy, brooding Pastorale, the bold Hymne, and the light and precise Toccata. Her palette of colors was just right for these works. I couldn’t help thinking it would be interesting to hear her play Ravel’s Toccata (or perhaps Scarbo), and a number of works of Debussy.

Shifting after intermission to Grieg, Ms. Lee played the “Rotnams-Knut, Halling”  (No. 7 from Peasant Dances, Op. 72), the Scherzo-Impromptu No. 2 from Stimmungen, Op. 73, and the Ballade, Op. 24. These works enjoyed a loving advocacy in this pianist’s hands. The Ballade (despite accuracy issues towards the craggy end) had many fine moments, prospering by Ms. Lee’s patient lyricism through its doleful and funereal sections.

The Allegro de Concierto, Op. 46, by Granados ended the evening on a positive note, concluding what was a rewarding evening of music. An appreciative audience received an encore that sounded somewhat like a new age improvisation on a hymn, though (as sometimes happens) it was impossible to hear the announcement.

Share
by Rorianne Schrade  for New York Concert Review; New York, NY

Lukáš Vondráček in Review

Lukáš Vondráček, piano
Weill Hall at Carnegie Hall, New York, N.Y.
November 22, 2010
 

LUKÁŠ VONDRÁČEK

2010 Winner of the Hilton Head International Piano Competition, Czech pianist Lukáš Vondráček gave an exciting recital that bodes well for a bright future in music. He is hardly a newcomer, for though in his mid-twenties, he has (according to  his biography) visited over 25 countries and given more than 900 concerts (having given his first concert at age 4). He has clearly honed his craft through so much playing; what was perhaps more impressive, though, was how completely committed he was to every single phrase, with not a hint of anything “automatic.”

Opening the recital was Haydn’s Sonata in C Major, No. 60 (Hob. XVI: 50), in lieu of the printed program’s Bach Italian Concerto. While I think the Bach might have led even more beautifully to the Mendelssohn Variations Serieuses (Op. 54), the Haydn was full of delightful surprises. With the imaginative orchestral treatment Mr. Vondráček gave it, it seemed to be just as much an opera overture as a sonata, showing sensitivity to the distinct character of each phrase and an enormous variety of articulations. Occasionally the staccato releases of his hands seemed mannered, to the point where one felt it distracting to watch, so I decided just to listen, and what I heard never failed to hold me.

Mendelssohn’s Variations Serieuses also seized one’s attention and never let go. I can’t recall hearing a performance of this piece quite as dramatic and all-encompassing. It should be required listening for those (and sadly there are some) who relegate Mendelssohn to innocuous, prettified music. From Vondráček’s thoughtful interpretation of the opening theme, to the riveting machine technique in the twelfth variation and the driving final Presto, it was a ride of Romantic extremes. I especially loved the moments where time felt suspended, the ethereal eleventh variation and the melting Adagio of the fourteenth, as this pianist is just as bold in his slow tempi as in fast.

One concern in the Mendelssohn (and even the Haydn) was how the Rachmaninoff and Prokofiev to come could intensify the already full-blown tonal world without straining; one is used to striving for a different sound for each era in piano music, and that did not seem a big priority here. The priority was a genuineness of expression, with not a trace of the condescension that sometimes affects more history-minded performances. All the music felt new in a way that should draw more audiences to classical music. Sure enough though, the louder passages in four of Rachmaninoff’s Op. 33 Etudes-Tableaux saw some subtle harmonic changes eclipsed by sheer decibels, as near the climax of No. 3 in C Minor and the angular, angry No. 9. The Op. 33, No. 1 in F minor and No. 8 in G minor rounded out the set, offering much to admire in dramatic projection and lyricism.

The boisterous pianism of Smetana’s Czech Dances (Hulán and Skocná) opened the second half with energy and humor. It will be good to hear Mr. Vondráček bring attention to more music from his homeland. In an interesting and effective segue, four Lyric Pieces by Grieg followed, Op.57, No.6 (“Homesickness”) Op. 62, No. 2 (“Gratitude”- a nice touch on Thanksgiving week), Op. 62, No. 4 (“Brooklet”) and Op. 68, No. 3 (“At Your Feet”). All showed vivid imagination, but the stunning evocations of the brook took the prize.

Prokofiev’s Sonata, No. 7 (Op. 83) closed with all the firepower one wanted, bringing the audience to its feet. Mr. Vondráček is a powerful pianist, and he should be much in demand for large Romantic concerti, such as Rachmaninoff’s Third Concerto, which he is engaged to play soon. It seemed he would be capable of playing tirelessly for several more hours, and his choice of a highly percussive, energetic encore seemed to agree (something sounding like Martinu, though one could not hear his announcement). One might have wanted something more serene right after Prokofiev’s 7th Sonata, but this pianist left on a strong and confident note. He should be confident, as he really “has it all.” Bravo!

Share
by Rorianne Schrade  for New York Concert Review; New York, NY

Amael Piano Trio, in Review

Amael Piano Trio, in Review
Tatjana Ognjanovic, piano
Volodja Balzalorsky, violin
 Damir Hamidullin, cello
Weill Recital Hall at Carnegie Hall, New York, NY
November 13, 2010

Amael Trio

A top-notch ensemble, the Amael Piano Trio, was presented this weekend under the auspices of the Spectrum Chamber Music Society, with the support of the Ministry of Culture of the Republic of Slovenia. In a program of 20th-century Slovenian music (first half) and Beethoven’s Piano Trio in B-flat, Op. 97, the “Archduke” (second half), they brought unity and vigor to both old and new.

The Amael Trio, based in Ljubljana, states in its biography (in addition to mentioning traditional repertoire) that it is “dedicated to performing contemporary works, and to the promotion, internationally, of Slovenian composers of piano trio literature.” They did an excellent job of just that in their Saturday evening program, and though only the pianist and violinist are natives of Slovenia (the cellist hailing from Russia), they represented Slovenia with honor. They might add to their biography that they also promote some non-trio works, as there was a violin solo included on their program; considering that each of the three players is of such strong individual ability, they might want to incorporate some solos or duos by the pianist and cellist as well. It would be a welcome addition.

The concert opened in an intensely dark vein with “Maestoso Lugubre” by Lucijan Marija Skerjanc (1900-1973).  Composed in 1935, the work is actually the last movement of this composer’s Piano Trio, though Skerjanc himself suggested that it be performed as a single work. From the very first solo cello notes by Damir Hamidullin, a somber lyricism pervaded, deepened by each player’s entry. The synchronization was marvelous, particularly in the string doublings (which can so easily sound “off” but were never so). All three blended in a way that was rich and warm, but also translucent, like the sonic equivalent of amber. The pianist, Tatjana Ognjanovic, managed to be the perfect foundation and “glue” for the trio without any suggestion of dominance even with the Steinway lid up.

Violinist Volodja Balzalorsky came onstage next as soloist in “Something Wild” by Nenad First  (b. 1964).  Mr. First, though born in Zagreb, lives and works in Slovenia. “Something Wild” is pretty much what its title suggests, a rhapsodic, virtuoso violin showpiece with a rough, rustic streak (plenty of fifths) and dizzying speed (think Bartok meets Paganini). Seemingly fiendishly difficult in parts, it was the compulsory violin work in the 2005 International Johannes Brahms Competition. While I cannot profess to love the piece, it was an intriguing break from the trios and certainly an opportunity for Mr. Balzalorsky to shine.

The first half concluded with the trio performing “Five Short Pieces” by Milko Lazar (b. 1965). Dedicated to the trio in 2001, it is a work of great variety within concise, classically restrained movements, each contrasting with the last  (arranged as fast, slow, fast, slow, fast). The performance was one of extreme precision, and it would be hard to imagine it being played more convincingly than it was by this tightly knit ensemble.

Beethoven’s “Archduke” Trio, a masterpiece that is reason enough to go to any concert, was given a fine, mostly polished performance for the evening’s close. Performers are unfortunately subject to the accumulated preferences of a listener when performing such an established masterpiece, and I felt it was slightly unsettled in parts. Occasionally it was a matter of simply needing more agogic placement of downbeats (as in the first movement’s initial move to G major, where a more settled metric feeling can enhance ensuing rhythmic surprises), but other times (as in the magnificent third movement) it seemed that the pursuit of momentum was undermining the overarching grandeur of the work. All in all, though, it was a fulfilling musical evening, and this is a superb ensemble, which I hope to hear again.

Share
by Rorianne Schrade  for New York Concert Review; New York, NY

“Dance of the Stones” in Review

“Dance of the Stones” in Review
A Chamber Opera by Brian Schober
Libretto by Richard Olson
Theatre80, New York, NY
November 6, 2010

 

Dance of the Stones. Photo Credit : Auguste Olson


 

A large audience was in attendance for the premiere weekend of Brian Schober’s new chamber opera “Dance of the Stones,” a work inspired by Japanese Noh drama, but involving modern, everyday characters searching for meaning in life. Delving into universal themes of mind and body, teacher and student, the limitations of words, love, and aging, the opera’s scope seems to reach in inverse proportion to the size of the cast (four characters and a small chorus). The uncluttered quality of cast and staging combined with an evocative musical score to create illusions of space and time that far exceeded the intimate venue.

Central to the story, in a libretto by Richard Olson, is the relationship between a frustrated philosophy professor, Thom (sung by bass-baritone Peter Ludwig), and a young infatuated student Abby (sung by soprano Sara Paar). They travel towards enlightenment and towards Thom’s own revered teacher Tara (sung by contralto Christina Ascher), aided by a guide named Go (tenor Kenneth Harmon). Appropriately subtitled “A Journey beyond Words,” much of the opera’s emotional story is conveyed through dance, pantomime, and choral interludes that draw upon a rich range of what is described as “multi-textured music of shifting modalities.” There are indeed words as well, sung very conversationally by the four main characters (and peppered humorously with some slang), but the instrumental and choral music, lighting, and staging seem best to express the heart of the characters, the subtext of their lines, and their journeys toward truth. A chorus with handbells plus an ensemble of violin, cello, flutes, piccolo, clarinet, piano, synthesizer, harp and percussion convey alternately a sense of frustration, wonder, anxiety, love, calm, and sleep.

Mr. Schober, an American composer and organist who studied in France with Olivier Messiaen (as well as in the US), seems to have some of Messiaen’s mark on his musical style, although his wide-ranging textures and timbres are so sensitively connected to his opera’s drama and libretto that what emerges is something altogether unique.

The composition is fascinating all by itself, though non-musicians would enjoy the production for its theatrical values alone, including skillful choreography (Lynn Neumann) and lighting (Stephen Petrilli). All was held together seamlessly by the skillful conducting of Claudia Dumschat. In the performance I heard, the singing and acting were commendable, although occasionally some recitative parts were a tad stilted. The initially fusty Thom metamorphosed wonderfully as the role progressed, and some humorous moments stole the show for the spunky Abby, also offering much-needed comic relief from the rather ambitious subject matter. I never thought I would hear the word “dude” sung in a classical opera setting, but there is a first for everything!

Special mention should be made also of the chorus’s soprano soloist, Lesley Zlabinger, who had some of the most beautifully lyrical parts, and of considerable difficulty. Considering the obvious difficulty in all of the vocal parts (and in coordination with the ensemble parts), it was a remarkable and impressive premiere. All involved are to be congratulated.

One can easily imagine this chamber opera receiving repeat performances or touring the university circuit (despite some derogatory references in the text to “ivory towers”). Its small cast and simple staging should make it quite mobile, and college audiences should find it provocative. There may also be something of a renewed interest in Noh-inspired opera, as a new production of one by Alexander Goehr was just presented in London. There are also notable early examples by Benjamin Britten, in his “Curlew River,” “The Fiery Burning Furnace,” and “The Prodigal Son,” but there is certainly room for more.

Share
by Rorianne Schrade  for New York Concert Review; New York, NY

David Kadouch, piano in Review

David Kadouch, piano
Grace Rainey Rogers Auditorium, The Metropolitan Museum of Art, New York, NY
October 30, 2010
 

David Kadouch

 

Laureate of the 2009 Leeds International Pianoforte Competition and the 2005 Beethoven Competition in Bonn, David Kadouch is poised for a healthy career that already includes many concerts in the coming year. Having heard his highly auspicious New York recital debut this weekend, I was happy to discover that he is an artist of distinct individuality, not at all a typical contest prizewinner, but an engaging musician.

The first point that struck this reviewer as unusual was the programming, including works that are not heard often in recital (with the exceptions of the much-loved opening Haydn F minor Variations, Hob XVII: 6 and closing Debussy Préludes). The second point was a style of playing that showed not a trace of the thundering bombast that is so common among the twenty-something crowd vying for a chance to be heard.

The first half, while including Schumann, centered on this composer’s relatively seldom played Sonata in F Minor, Op. 14 (“Concert sans Orchestre”), an intriguing work with a patchwork history of revisions and performances. Mr. Kadouch played it with a wonderful sense of Schumann’s quicksilver temperament. This pianist has an outstanding gift for delicacy, both in lyrical phrases and in rapid passagework. Incidentally, he chose to play the Scherzo originally removed by the composer (the “Allegro Vivacissimo,” not the Scherzo “Molto Commodo” that is more often used), a choice that favored his natural lightness of touch. There were times (especially in the Schumann, but also in the Haydn) when I wanted a bit more melodic fullness and sustaining of the energy of phrases to the very end (especially when the harmonic intensity invited it), but these were personal quibbles.

Liszt’s Spinning Chorus from Wagner’s The Flying Dutchman opened the second half in a jaunty interpretation that again emphasized the pianist’s more delicate, playful side. Mr. Kadouch truly seemed to be enjoying himself here. Following were fifteen of Shostakovich’s 24 Preludes, Op. 34 (which the pianist recently recorded), again not exactly a typical firebrand offering, though highly demanding in subtle interpretive ways. Kadouch reflected genuine feeling for each choice, showing plenty of wit, a kaleidoscope of colors, and a flexibility of phrasing that felt almost balletic. He played a slightly different arrangement of the Preludes than listed on the program, opting for a mix of 1- 2, 5-6, 9-11, 13-16, 19-21, and 24, and it worked well. He ended with number 5, leaving a well-punctuated feeling and whetting this listener’s appetite to hear his recording of all of them.

Two Debussy Préludes, “Les Fées sont d’exquises danseuses” and “Ce qu’a vu le vent d’ouest” closed. As stated before, the Debussy Préludes were not such an unusual choice, but their placement as the final works was. One grows accustomed to big pyrotechnics at a debut’s close, and this was definitely not the case. Mr. Kadouch has a subtlety that will be an acquired taste for many, but it will undoubtedly be worth acquiring, especially in similar repertoire. His encore of Chopin’s posthumous C-sharp minor Nocturne brought the evening to a gentle close.

Share
by Rorianne Schrade  for New York Concert Review; New York, NY

American Fine Arts Festival and Pianist Victor Maslov in Review

American Fine Arts Festival and Pianist Victor Maslov in Review
Weill Recital Hall at Carnegie Hall; New York, NY
October 23, 2010

The American Fine Arts Festival is certainly an ambitious organization, embracing singers, string players, and pianists of a large age range (from six and up) in its various competitions, courses, and concerts, including their recent “Fall Gala Concert and Golden Voices of America,” to which New York Concert Review was invited. Directed to their website (www.afafestival.org), I was overwhelmed just trying to assimilate their long list of winners in multiple categories within each contest, but the concert program introduced still more players as guest soloists and ensembles, added to the twenty-four performing winners! There would not be room to detail the performances of each participant, and as one would expect, there were varying levels of development, but that point becomes moot, as we were asked to review primarily pianist Victor Maslov.

Victor Maslov (b. 1997) is a pianist of significant accomplishment for one his age, and he shows tremendous potential for a strong future in music. Tchaikovsky’s “Dumka” (Op. 59) was given a sensitive, if understated, performance. In the middle of an afternoon that stressed the dramatic, through costumes and projection of operatic characters, it was refreshing to hear this young player let the music speak for itself, with little physical motion or hyperbole. In a change of the printed program’s order, he followed with Schumann’s Abegg Variations, Op. 1. Here, haste seemed to cause some blurring, and one lost some of the work’s wonderful details, but it had excitement and held together nonetheless.

After intermission, Maslov played the Schumann-Liszt transcription, “Widmung” in a performance that showed a good balance between the pure vocal line and all the arpeggiation. For me it was again a bit fast, with some ensuing inaccuracies including some not firmly grasped rolled chords, but this happens even to the most experienced pianists.  Following it was Liszt’s Tarantella, which had some astonishingly brilliant parts. I have every confidence that, with patience, this young pianist will make his mark.

Speaking of patience, one wanted a bit more of that quality throughout the afternoon, both in the tempi chosen and in the choice of repertoire (perhaps an issue to take up with the teachers). A number of these young players played and sang works that take a lifetime to mature and to be polished, but I personally would prefer to hear a simple miniature performed with finesse rather than attempts to interpret works beyond a child’s present physical and emotional reach. Mr. Maslov was one who came close to all-around mastery of his repertoire.

Some highlights of other performers included a highly expressive rendition by Latvian singer Oksana Lepska (b. 1995), of Andrew Lloyd Webber’s “I Don’t Know How to Love Him,” and Madison McIntosh’s “Deh, Vieni, Non tardar” from “Le Nozze di Figaro” of Mozart. Also quite good were Prokoviev’s “Harp” Prelude, Op. 12, No. 7, played by Connie Jiang (b. 2000), and an enjoyable “Duetto Buffo di Due Gatti” (attributed to Rossini) sung by the “Lucky Ten” Girls Ensemble from Massachusetts.

Some spirited ensemble singing closed both halves, but the obvious humorous intent was somewhat thwarted by the audience’s lack of a printed translation from the Russian (or an explanation). The audience, presumably including many of the performers’ family members, appeared to enjoy it all the same.

Share
by Rorianne Schrade  for New York Concert Review; New York, NY

Tureck International Bach Competition for Young Pianists: Winners’ Gala Concert

 2nd Tureck International Bach Competition for Young Pianists: Winners’ Gala Concert
The Rose Studio at Lincoln Center, New York, NY
October 11, 2010
 

The legacy of Rosalyn Tureck is alive and well, not only through her treasured recordings, but through sustained efforts of devoted students, notably those of Golda Vainberg-Tatz, director of the Tureck International Bach Competition for Young Pianists.  Held this year for the second time, the competition drew highly gifted and accomplished pianists (eligible from ages six through nineteen), playing in eight categories including the Short Preludes and Fugues, Inventions, Well-Tempered Clavier, Suites, Partitas, and various large works including the Concerti and Goldberg Variations. While no one won a prize in the Goldberg Variation category this time, it is impressive that there were several young entrants playing this large, demanding work. I sadly did not get to hear them, but what I did hear at the winners’ recital was excellent: all eight pianists were extremely well prepared and professional, and some were much more than that.

The printed program made no mention of ages (a refreshing change from circus-like prodigy-fests), so each player, whether pint-sized or college-aged, was presented in a professional context. Opening the program was the winner in the concerto category, Andrew Sung, playing the Concerto in F minor, BWV 1056. Self-assured, and showing admirable control and focus, he played in fine collaboration with his “orchestra” (a second piano, played by Damon Denton). His slow movement was fluid and graceful.

Natasha Hou Wu followed suit with a poised and precise Prelude and Fughetta in G Major, BWV 902. Evenness of touch and a firm intellectual grasp were much in evidence. One guesses that there must be some dedicated, unsung teachers behind such polish, along with Ms. Wu’s own gifts. The same may be said for the other players, including Sibo Wang, who played the Duet in G Major, BWV 804 with considerable intelligence and clear demarcations of phrasing. His polish was impressive too, though listeners were getting quite accustomed to that quality by this point!

The next winner, Zitong Wang, stood out as sensitive and lyrical in the Sinfonia in D minor, BWV 799. Going beyond intellectual and technical grasp, she seemed to probe the piece emotionally, especially towards its close.

Hilda Huang, co-winner with Jennifer Campbell in the Well-Tempered Clavier category, offered the A minor pairing from Book I and the A-flat Major one from Book II. With extreme rhythmic intensity, she brought out the conversational elements of the fugues with commendable skill.

Victoria Frances Young, winner in the Suites and Partitas category, played the French Suite in G Major, BWV 816, with brilliance and vigor. Some very fast tempi may have approached breathlessness, but there was an engaging ebullience to it all. With strong physical reactions to each crescendo (almost sending her off the bench), her involvement and commitment were clear.

Playing the Toccata in G Minor, BWV 915, was winner Jesslyn Julia Gunawan. Reflecting a sure sense of style, she also showed a genuine awareness of the more interesting harmonic twists and turns. The fugue had an infectious spirit, almost dance-like in quality.

Possessing perhaps the most maturity and artistry of all was Jennifer Nicole Campbell, who played David Auldon Brown’s Sonata No. 1, as winner of an additional contemporary music prize. (In addition to the Bach works, each contestant played a freely chosen contemporary work, post-1950.)  A sensitive colorist and intelligent musician, Ms. Campbell reflected total immersion in her music. She is already a full-fledged artist, and she brought the evening to a fitting close.

Endorsements, greetings, and a prize sent from Evgeny Kissin (and flowers sent by his father) added to the sense that these young musicians are being inducted into a rare and special group; in fact, they are.

Share
by Rorianne Schrade  for New York Concert Review; New York, NY