Jimin Han, piano

Judy and Arthur Zankel Hall at Carnegie Hall, New York, NY

November 24, 2024

Tonight’s performance at Zankel Hall featured pianist Jimin Han in an inventive and adventurous program with modern works that are not often played. It is refreshing to see an artist with a commitment to introducing new works to audiences – it is a testament to this performer’s bravery and brilliance.

The most well-known composer on the program was Samuel Barber (1910–1981), though the works performed tonight were far from the usual selections found on recital programs. The Ballade, Op. 46, opened with a set of arresting chords that immediately drew the listener into Barber’s unique sound world. Drawing inspiration from Frédéric Chopin, a renowned composer of ballades, Barber wrote in the duple meter of 6/8, yet he infused the form with his own dramatic harmonic language. Ms. Han brought a transparent, luminous tone to the opening section, while her interpretation of the intense middle section displayed both power and command. As the A-section returned, she evoked a haunting sense of the drama that had just unfolded.

The Nocturne, Op. 33, is another rarely performed work, again belonging to a genre strongly associated with Chopin, but here dedicated to John Field, who is credited to be originator of the form. While its thematic content employs twelve-tone techniques, the piece is crafted in a way that maintains a sense of a tonal center. Ms. Han’s performance displayed great sensitivity, though it could have benefitted from a more singing tone. A more successful interpretation might have embraced the interplay between the work’s angular, expressive melodies and its harmonically grounded, traditional elements, fully exploiting its unique character. This nocturne develops and uncovers more and more drama which was handled technically well, but left the listener wanting for a grander climax, especially in the intricate and beautifully dissonant cadenza. The ending could have had more of a sense of gravity.

Next on the program was a piece by Aaron Jay Kernis (b. 1960), LullabyfromBefore Sleep and Dreams. This piece had a hypnotic opening which Ms. Han played in a captivating manner. Her keen sense of pulse captured the lullaby’s gentle rocking motion, while the surrounding material seemed to float effortlessly. She navigated the larger, more romantic outbursts with expertise, skillfully exploiting the piece’s coloristic use of registers. This alluring work provided a beautiful and seamless transition from the more serious tone of the Barber pieces.

Another new work for this reviewer was one by Paul Schoenfield (1947-2024), Selections fromPeccadilloes. These three movements were interesting as they all referenced Baroque dances and older forms, but seen through a modern lens. The first movement, Allemande, was particularly striking, with its harmonic intricacies brought to life with great clarity by Ms. Han. While the piece began with rhythmic and textural nods to the traditional Baroque dance, it soon evolved into something more intimate and contemporary, blending old and new in a compelling way. The next movement, Fughetto, was the highlight of the three. This energetic fugue was expertly handled, and all the surprising syncopated and jazzy rhythms were delineated beautifully – what a wild ride for the performer and the listener! The last movement, Waltz, began with a mystical opening. Ms. Han was able to successfully guide the listening through the intricacies of the sophisticated harmonies and still communicate the essence of the dance. The end was supple and performed with great care – a satisfying conclusion to the first half of the recital.

The second half of the program had works by three Korean composers. It is an important endeavor to highlight composers from parts of the world that are typically underrepresented on recital programs. It was exciting to see unfamiliar names on the program, and I commend Ms. Han for her dedication to performing not only works by composers from her own cultural heritage but also pieces by living composers who are actively writing new music.

The first work, The Wave, was by Bumki Kim (b. 1974). This programmatic piece depicts the waves on the Southern Coast of Korea, a storm, and the calming of that storm by the sunrise breaking. This is achieved by a lulling and continuous patterns that eventually explode into a giant climax. The composer exploits the instrument through its extreme range and dynamics. Some of the louder sections felt a bit forced by Ms. Han as they could have been played grander and with more resonance. However, it was still a successful performance, and she had good control over the arc of the work.

The Little Blue Bird Dance Suite by Korean composer Heejung Park (b. 1978), another programmatic work, uses the bluebird symbolically. The piece depicts the story of a little bluebird being pursued by hunter unknowingly. The innocent opening is followed by an ominous scene where the “bluebird [is] left behind be its mother in a dark forest at dawn.” The drama of the work unfolds organically and naturally – and Ms. Han carries the audience through to the different sections seamlessly and with great poise. It was wonderful to see the composer present and acknowledged at the conclusion of the work.

The centerpiece of the program, in this reviewer’s opinion, was the next work: the Complete Piano Etudes by Unsuk Chin (b. 1961). While these works are becoming increasingly recognized, they are still rarely programmed in recitals—perhaps due to their extreme difficulty, which are on a par with the Ligeti etudes. However, Chin’s approach is distinct, drawing inspiration from various sources rather than directly following Ligeti’s model of solving compositional problems.

The first étude, In C, uses the overtones of C to establish its harmonic foundation while incorporating elements inspired by Balinese gamelan music, reminiscent of the approach taken by early 20th-century French composers. The result is a dazzling display of color, technique, and sound that can captivate even the most skeptical audience member. Ms. Han performed this etude magnificently and played the most complex passages with ease. Etudes 2 through 4 are of a different word and certainly the one that stands out is No. 3, Scherzo. She performed this with a distinct touch and character. The figures were played in a shapely manner while still maintaining drive and a sense of the greater pulse. The famous etude No. 5, Toccata was precise, and Ms. Han followed the longer line of long tones quite well – an impressive feat! And, finally, No. 6, Grains, felt like a kaleidoscope of sounds. Ms. Han certainly knows her way around these works!

At first, the programming of the recital seemed somewhat mellow, with the pieces in the first half conveying a similar tone. However, upon further reflection, it became clear that the intentional placement of the Chin études allowed for a gradual build-up, guiding the audience on a journey toward the apex of these extraordinary works. I appreciate the artist’s thoughtful programming and look forward to seeing her in another recital in the future.

Ms. Han concluded the recital after thunderous applause with an encore: Hesitation Tango from Souvenirs, by Samuel Barber – a perfect bookend to the evening.

                                                                                                                                 

by Walter Aparicio  for New York Concert Review; New York, NY

Ian Hobson, piano

Tenri Cultural institute, New York, NY

November 15, 2024

Tonight’s performance was another retrospective into the complete piano works of Robert Schumann (1810-1856) by pianist Ian Hobson. This program, titled Visions of Youth, explored works that not only were composed for young pianists and students, but also reflected on childhood memories and themes.

It is rare for a recital program to feature works typically assigned to young learners, especially when performed by a pianist of Mr. Hobson’s caliber. The first half of the program, however, offered just that. Album für die Jugend, Op. 68 (Album for the Young), a staple in every piano instructor’s library, was presented in its entirety. Hearing the complete set was a different and enlightening experience, offering insights into Schumann’s thought process as he sought to encompass a wide range of fundamental piano techniques and expressive elements.

Mr. Hobson’s interpretations were thoughtful, imaginative, and sophisticated—qualities that brought a surprising depth to these simple pieces. Of particular note were No. 5, Stückchen, No. 16, Erster Verlust (First Loss), and No. 18, Schnitterliedchen (Little Reaper’s Song), which were rendered with supple lines and beautiful touches of imagination. The faster movements bristled with energy and verve: No. 2, Soldatenmarsch (Soldier’s March) was bold, and No. 12, Knecht Ruprecht (Servant Ruprecht) was suitably turbulent.

The program’s better-known pieces were a delight to hear. No. 10, Fröhlicher Landmann, von der Arbeit zurückkehrend (Merry Peasant, Returning from Work) radiated joy, and No. 14, Kleine Studie (Little Study) unfolded with ease. However, No. 8, Wilder Reiter (Wild Rider), with its galloping rhythm, was taken a bit too fast, resulting in some loss of clarity, particularly in the B section. Similarly, No. 17, Kleiner Morgenwanderer (Little Morning Wanderer) and No. 25, Nachklänge aus dem Theater (Reminiscences from the Theater) could have benefited from a warmer tone and a lighter touch.

The seldom-heard later movements were a revelation. No. 20, Ländliches Lied (Country Song) was tender, and No. 30 (untitled) revealed a more introspective and contemplative side of Schumann—one that might well have been attributed to Eusebius. These pieces encapsulate every facet of piano technique and musicality from beginner to advanced, offering a treasure trove of delights for both performers and listeners.

The second part of the concert began with Drei Clavier-Sonaten für die Jugend, Op. 118(Three Sonatas for the Young) —late works that provide a glimpse into the talent and skill of the composer’s three children, for whom these sonatas were written. While the idea of new piano sonatas for students is intriguing, these pieces require young learners of exceptional ability to navigate their challenges.

The first sonata in G major stands out as one of the more engaging works. Its short movements are captivating, and they were performed with great care. The second movement, a Theme and Variations, was particularly striking, in originality and character. The third movement, a lighthearted piece, felt more like an introduction to the lively Rondoletto that followed. A touch more rhythmic swing might have better conveyed the character of this final movement.

The second sonata, more esoteric in nature, was skillfully interpreted by Mr. Hobson. Despite the repetitive nature of the first movement, it maintained enough contrast to charm the listener. The second movement, an exercise in counterpoint, offered a technical challenge well-suited to young pianists. The serene Abendlied (Evening Song) served as the slow movement, while Kindergesellschaft (Children’s Company) captured the innocence and playfulness of childhood. An intriguing work!

The final sonata embarks on an adventurous journey in C major. The Allegro was played with a lively spirit and dynamic color shifts that highlighted harmonic changes. The second movement, reflective and meandering, was quintessentially Schumann in its introspective quality. The bold and bombastic Zigeunertanz (Romani Dance) brought energy and flair, while Traum eines Kindes (A Child’s Dream) closed the piece with imagination and nostalgia. By referencing the first movement, this finale achieved a satisfying sense of cyclicality.

Certainly, the most well-known works on tonight’s program are the Kinderszenen, Op. 15. Though inspired by childhood, these scenes are not intended as teaching pieces for children. Instead, they evoke a sense of nostalgia, capturing fleeting moments of childhood through a reflective lens.

One of my personal favorites, No. 1, Von fremden Ländern und Menschen (Of Foreign Lands and Peoples), was played with beautiful simplicity by Mr. Hobson. Among the highlights were No. 3, Hasche-Mann (Blind Man’s Buff), whose buildup to the climax was masterfully executed, and No. 4, Bittendes Kind (Pleading Child), which left the audience nearly breathless. No. 5, Glückes genug (Happy Enough) might have benefited from a more transparent interpretation, but it remained enjoyable.

At the heart of the work is, of course, the iconic No. 7, Träumerei (Dreaming), a piece with a history of being performed on its own by many world-renowned artists. However, tonight’s performance felt too grounded in the real world, lacking the fantasy and introspection that define this beloved movement. In contrast, No. 10, Fast zu Ernst (Almost Too Serious) and No. 11, Fürchtenmachen (Frightening) were especially memorable, showcasing Mr. Hobson’s sensitivity and attention to detail.

Tonight’s concert was a rare and remarkable experience, bringing together a complete performance of these cherished works. It is hard to imagine having the opportunity to hear these pieces presented collectively in a single recital again. Mr. Hobson’s dedication to Robert Schumann and his artistry made the evening truly special. The next all-Schumann concert, featuring trios, is scheduled for December 13—we eagerly await another extraordinary performance!

by Walter Aparicio  for New York Concert Review; New York, NY