Tristian is bringing Mozart's Concerto No. 21 in C major, Kochel 467. Another beautiful, classical concerto. The first theme of this concerto is so bright and cheerful. To get to the second theme, Mozart takes is through a transition in minor. Sets up the second theme really nicely. Tristan looks very comfortable at the piano and the ensemble with the orchestra is fluent. From the pianist, Mozart demands absolute clarity; he is completely transparent. There isn't anything to catch you in the music; everything has to be there and it has to be even and accurate. One element that Mozart employs in his music to move it forwards is to push the music through a circle-of-fifths progression with suspensions. Love those passages. Tristan's finger work was wonderful.
The beautiful second movement is underway. It is an andante. In this movement, we will get a flips into Mozart's operatic writing prowess. Truly, this movement is like Amaris for soprano. Sweet, solo melody line above a chordal accompaniment. This operatic effect is further heightened by the back-as-forth between the piano and orchestra. Elegant performance.
The fun-loving Mozart has returned in the third movement marked Allegro vivace assai. The primary theme in this movement is sprightly and active. As in the first movement, a light and quick touch is necessary and Tristan is giving us that. Worthy of note, this third movement contains a brief cadenza. Well played and well chosen piece. Tristan!
Wednesday, June 11, 2014
PianoArts 2014, Finals - Huan Li
I'll be honest...I want to just so here and listen. But I shall listen and type for you. :) Li is performing Beetoven's third concerto this evening. This piece is always a joy to listen to. Beethoven, along with Mozart, solidified the standard form for concerti in general: an fast first movement, slow second movement, and then a closing fast movement. In the first movement, the orchestra opens, introducing all the main themes of that movement and then bringing the soloist in. The soloist then restates those themes, in dialogue with the orchestra, and develops them. A cadenza (an extended solo passage for the soloist in which one or both main themes of the concerto are developed further allowing the pianist or instrumentalist to show their skills in technique and improvisation) comes next followed by a brief closing orchestral section. In some concerti, the soloist will finish the movement with the orchestra. Li is doing a lovely job and I know will continue to do. The finalists' rehearsal time with the orchestra is limited (true to professional musical life) so you have to be a quick study on order to stay with the orchestra and conductor.
On to the Largo. Finally, we get to hear the incredible key shift from C minor to E major. This is the sort of unexpected change so characteristic of Beethoven, but also a testament to his genius. He could have put this movement on E-flat major, a closely related key of C minor, but he bumped it up a half-step. Pure magic. Notice too, the movement to the raised third of the C minor scale, as opposed to going to the V or the IV of that key on which to build the second movement. Li brought is gently and sensitively into this second movement and has maintained this character beautifully. Well-done.
And Li is off and running in the third movement. The ensemble with the orchestra is terrific. Her finger work and voicing is great too. A rondo opens with a theme, moves to a new theme, comes back to the original theme, introduces another new theme, etc for a form that come out A-B-A-C-A. Composers do not have to stick to this exact form. It could also be A-B-C-A-D-B-A, for example. Rondos are always fun pieces to listen to. This rondo follows an A-B-A-C-A-B-A-Coda form (if my ears kept track of ot correctly...haven't formally studied this piece.). Brava to Li!
On to the Largo. Finally, we get to hear the incredible key shift from C minor to E major. This is the sort of unexpected change so characteristic of Beethoven, but also a testament to his genius. He could have put this movement on E-flat major, a closely related key of C minor, but he bumped it up a half-step. Pure magic. Notice too, the movement to the raised third of the C minor scale, as opposed to going to the V or the IV of that key on which to build the second movement. Li brought is gently and sensitively into this second movement and has maintained this character beautifully. Well-done.
And Li is off and running in the third movement. The ensemble with the orchestra is terrific. Her finger work and voicing is great too. A rondo opens with a theme, moves to a new theme, comes back to the original theme, introduces another new theme, etc for a form that come out A-B-A-C-A. Composers do not have to stick to this exact form. It could also be A-B-C-A-D-B-A, for example. Rondos are always fun pieces to listen to. This rondo follows an A-B-A-C-A-B-A-Coda form (if my ears kept track of ot correctly...haven't formally studied this piece.). Brava to Li!
PianoArts 2014, Finals - Welcome
Good evening! This is Mary Anna Salo once more to bring you in the written word the Final Round it the 2014 PianoArts competition. We are in for a real treat tonight: three piano concerti - Mozart's Concerto No. 21 in C major, Kochel467 (Teo); Beethoven's Concerto No. 3 in C minor, Op. 37 (Li) and Saint-Saens' Concerto No. 2 in G minor, Op. 22 (Knoll).
Monday, June 9, 2014
PianoArts 2014, Collaborative Recitals - Ling-Yu Lee
Islamey! Fun, fun piece and very difficult. This piece is by Balakirev and has the sub-title Fantaisie Orientale. Key is D-flat major, Op. 18. Nice performance!
Scott Tisdel, cello, is joining Lee for Beethoven's Seven Variations for cello and piano on "Bei Mannern, welche Liebe fuhlen" from Mozart's Magic Flute, WoO 46. Variations are enjoyable pieces to listen to. They give the composer the opportunity to show their creativity with one theme that gets modified, adapted, embellished throughout the work. Different styles, emotions and keys are all part of variations. The two musicians are doing a beautiful job with this piece. Articulation, different characters and phrasing are matched to the music and each other.
To finish her program (and our day!), Lee is playing the first movement of Mozart's D minor piano concerto, Kochel 466. Stefanie Jacob, pianist, is playing the orchestral reduction for Lee. When Mozart writes in a minor key, take note. It's highly unusual for him to do so. The concerto opens quietly with controlled intensity, but quickly takes off. Lee compared the unrest in this work to the social unrest that was steadily increasing at that time and the fight for social mobility that would ensue. This piece was written in 1785, just four years before the start of the French Revolution. Interesting comparison. As always, grace and elegance pervade Mozart's writing, even in a minor key, and Lee is successfully capturing this. For the cadenza, Lee chose Beethoven's version. With that, I am saying good-bye until the Wednesday night finals. Looking forward to sharing those with you!
Scott Tisdel, cello, is joining Lee for Beethoven's Seven Variations for cello and piano on "Bei Mannern, welche Liebe fuhlen" from Mozart's Magic Flute, WoO 46. Variations are enjoyable pieces to listen to. They give the composer the opportunity to show their creativity with one theme that gets modified, adapted, embellished throughout the work. Different styles, emotions and keys are all part of variations. The two musicians are doing a beautiful job with this piece. Articulation, different characters and phrasing are matched to the music and each other.
To finish her program (and our day!), Lee is playing the first movement of Mozart's D minor piano concerto, Kochel 466. Stefanie Jacob, pianist, is playing the orchestral reduction for Lee. When Mozart writes in a minor key, take note. It's highly unusual for him to do so. The concerto opens quietly with controlled intensity, but quickly takes off. Lee compared the unrest in this work to the social unrest that was steadily increasing at that time and the fight for social mobility that would ensue. This piece was written in 1785, just four years before the start of the French Revolution. Interesting comparison. As always, grace and elegance pervade Mozart's writing, even in a minor key, and Lee is successfully capturing this. For the cadenza, Lee chose Beethoven's version. With that, I am saying good-bye until the Wednesday night finals. Looking forward to sharing those with you!
PianoArts 2014, Collaborative Recitals - Chaeyoung Park
Park is playing another piece that steps outside of much of what we've been hearing today. For her opening solo, she is playing Clementi's Sonata in F-sharp minor, Op. 25, No. 5. The first movement is melancholy and sensitive and requires good technical control. She is doing a lovely job of this. The second movement is painful ad sad, beautiful at the same time. A presto third movement is conclusing this sonata. For the first time in this work, a major key is introduced, giving us a ray of sunshine much needed after the darkness of the first two movements. Great control and expressivity throughout. Brava!
Park is now going to perform the first movement of Brahms' Sonata for Violin and Piano, No. 2 in A major, Op. 100, with MSO violinist, Jennifer Startt. Park stated that she finds this movement to be heart-warming and welcoming; she has definitely captured those emotions in her playing (and she looks like she's enjoying herself and the music too).
Another first movement of Mendelssohn's G minor piano concerto with pianist, Martha Fischer, playing the orchestral part. Park is taking control of this piece from the get-go. Before playing, she shared a few thoughts with us: Mendelssohn wrote this concerto in only a few days and it's as if he tried to squeeze as much material as he possibly could into the space he had. There are no formal pauses between movements, rather each one flows into the next. Someone is noted to have said that this piece is emotionally direct, meaning Mendelssohn made it very clear to the performer through his markings in the score what he wanted. Thus, the performer knows exactly what to do with the music and as a result, the audience will understand it too. This concerto is in Mendelssohn's most natural and organic state because of the short writing time (excellent insight and comment from our performer!). Solid way to end a collaborative program.
Park is now going to perform the first movement of Brahms' Sonata for Violin and Piano, No. 2 in A major, Op. 100, with MSO violinist, Jennifer Startt. Park stated that she finds this movement to be heart-warming and welcoming; she has definitely captured those emotions in her playing (and she looks like she's enjoying herself and the music too).
Another first movement of Mendelssohn's G minor piano concerto with pianist, Martha Fischer, playing the orchestral part. Park is taking control of this piece from the get-go. Before playing, she shared a few thoughts with us: Mendelssohn wrote this concerto in only a few days and it's as if he tried to squeeze as much material as he possibly could into the space he had. There are no formal pauses between movements, rather each one flows into the next. Someone is noted to have said that this piece is emotionally direct, meaning Mendelssohn made it very clear to the performer through his markings in the score what he wanted. Thus, the performer knows exactly what to do with the music and as a result, the audience will understand it too. This concerto is in Mendelssohn's most natural and organic state because of the short writing time (excellent insight and comment from our performer!). Solid way to end a collaborative program.
PianoArts 2014, Collaborative Recitals - Huan Li
Li's opening piece is Liszt's Rigoletto Paraphrase de Concert, S. 434. Li is performing this piece with grace and ease, and that included the vituosity inherent in this music. Liszt took pianistic virtuosity to a whole new level. He was also showman and extremely famous, the equivalent of our modern-day rock stars, except in the 1800s.
Beethoven's Sonata for violin and piano in D major, Op. 12/1, Allegro con brio returns in Li's program. Violinist Timothy Klabunde joins her. They work nicely together, flowing through scale lines together and passing back-and-forth the themes of this movement.
Closing Li's collaborative recital is the first movement of Beethoven's third piano concerto, Op. 37. Li shared with is that this concerto was composed in 1800, but not performed until 1803. Continuing her comments...the opening motive is simple and does not move far from the tonic, therefore emphasizing the cocerto's home key of C minor. The dotted rhythm of the opening gives the piece a strong sense of direction as well displays Beethoven's strength and pride (nice comment). In congrats to the first theme, the second theme is gentle with a more fluid accompaniment. It moves from the home key of C minor to the relative major of E-flat. This key area emphasizes and the connection and yet difference between the first and second themes. The second movement takes us to the key of E major, creating an entirely different atmosphere. This movement is the peace and beauty of nature (another nice comment as Beethoven often walked outdoors to think and find inspiration. The pastoral symphony comes to mind). Finally, the concerto closes with a rondo that is joyful and dance-like. The active 16th note accompaniment in this movement are like a storm that cannot be stopped (good tying together of her comments). Great performance!
Beethoven's Sonata for violin and piano in D major, Op. 12/1, Allegro con brio returns in Li's program. Violinist Timothy Klabunde joins her. They work nicely together, flowing through scale lines together and passing back-and-forth the themes of this movement.
Closing Li's collaborative recital is the first movement of Beethoven's third piano concerto, Op. 37. Li shared with is that this concerto was composed in 1800, but not performed until 1803. Continuing her comments...the opening motive is simple and does not move far from the tonic, therefore emphasizing the cocerto's home key of C minor. The dotted rhythm of the opening gives the piece a strong sense of direction as well displays Beethoven's strength and pride (nice comment). In congrats to the first theme, the second theme is gentle with a more fluid accompaniment. It moves from the home key of C minor to the relative major of E-flat. This key area emphasizes and the connection and yet difference between the first and second themes. The second movement takes us to the key of E major, creating an entirely different atmosphere. This movement is the peace and beauty of nature (another nice comment as Beethoven often walked outdoors to think and find inspiration. The pastoral symphony comes to mind). Finally, the concerto closes with a rondo that is joyful and dance-like. The active 16th note accompaniment in this movement are like a storm that cannot be stopped (good tying together of her comments). Great performance!
PianoArts 2014, Collaborative Recitals - Allison Freeman
Allison is opening her collaborative program in a very different musical vein than we've had up to this point. She is playing the first movement (Allegro moderato) of Haydn's Sonata No. 52 in E-flat Major, Hob. XVI/52. The opening theme calls to mind a hunting horn. Yet, it is still graceful and elegant. As is expected, Haydn is building the entire movement off of this theme. Running scales lines and fast finger work that are characteristic of Haydn are well-displayed in this movement and well-played by Freeman.
Freeman has chosen Schumann's Fantasiestucke for cello and piano, Op. 73 for her collaborative piece. Cellist Andrien Zitoun of the MSO is joining her. What a treat for these young artists to get to play with some MSO musicians. Freeman is giving Zitoun her attention, maintaining contact with him throughout the piece. Good ensemble playing. Originally, this piece was composed for clarinet and piano. There are barely any resting points in this work for the clarinetist to breath, meaning a challenge in getting enough air and tiring out of embouchure. The cello is better suited to this piece in that regard. And it is a beautiful tone quality for the work: deep and rich.
The first movement Saint-Saen's G minor piano concerto, Op. 22 is going to close Freeman's collaborative program. She is joined by pianist Martha Fischer playing the orchestral reduction. Freeman spoke briefly about this movement and the concerto as a whole: The first movement looks back to the Baroque in several ways. It opens with a low G that is sustained as a pedal point for close to the entire first page of the concerto. This also shows the influence of organ on Saint-Saens. In addition to the pedal point, the opening is improvisatory and contrapuntal, both prominent features of the Baroque era. Saint-Saens steps outside the bounds of the traditional piano concerto and concerto in general established by Mozart and Beethoven, by having the piano introduce the first theme as opposed to the orchestra. Further, there is no slow movement, which is also a standard movement in concerti. An intriguing side-note is that there a rumors that Saint-Saens did not compose the first theme, but rather lifted it from one of his composition students - Faure. Freeman also shared one of the techniques that appears frequently in Saint-Saens' works is staggered octaves, octaves that are shared between the hands. This allows the pianist to play more octaves at a faster rate of speed. Brava to Freeman on a well-played collaborative recital!
Freeman has chosen Schumann's Fantasiestucke for cello and piano, Op. 73 for her collaborative piece. Cellist Andrien Zitoun of the MSO is joining her. What a treat for these young artists to get to play with some MSO musicians. Freeman is giving Zitoun her attention, maintaining contact with him throughout the piece. Good ensemble playing. Originally, this piece was composed for clarinet and piano. There are barely any resting points in this work for the clarinetist to breath, meaning a challenge in getting enough air and tiring out of embouchure. The cello is better suited to this piece in that regard. And it is a beautiful tone quality for the work: deep and rich.
The first movement Saint-Saen's G minor piano concerto, Op. 22 is going to close Freeman's collaborative program. She is joined by pianist Martha Fischer playing the orchestral reduction. Freeman spoke briefly about this movement and the concerto as a whole: The first movement looks back to the Baroque in several ways. It opens with a low G that is sustained as a pedal point for close to the entire first page of the concerto. This also shows the influence of organ on Saint-Saens. In addition to the pedal point, the opening is improvisatory and contrapuntal, both prominent features of the Baroque era. Saint-Saens steps outside the bounds of the traditional piano concerto and concerto in general established by Mozart and Beethoven, by having the piano introduce the first theme as opposed to the orchestra. Further, there is no slow movement, which is also a standard movement in concerti. An intriguing side-note is that there a rumors that Saint-Saens did not compose the first theme, but rather lifted it from one of his composition students - Faure. Freeman also shared one of the techniques that appears frequently in Saint-Saens' works is staggered octaves, octaves that are shared between the hands. This allows the pianist to play more octaves at a faster rate of speed. Brava to Freeman on a well-played collaborative recital!
PianoArts 2014, Collaborative Recital - Sasha Bult-Ito
Sasha is beginning her collaborative recital with three Rachmaninoff Etudes-Tableaux, Nos. 7, 8 and 9 from Op. 33 in E-flat major, G minor ad C-sharp minor respectively. Love these Etudes. They display the harmonies and haunting melodies that are so typical and wonderful in Rachmanioff's writing. They also display his incredible pianistic virtuosity. Gorgeous and challenging works. Sasha's rendering of these pieces is sensitive and forceful to meet the requirements of each one. Great opening pieces for her.
We are going to be graced again with the first movement of Brahms' Sonata for cello and piano in E minor, Op. 38. Collaborating with Sasha is cellist Scott Tisdel of the MSO. Both musicians are demonstrating sensitive playing. This movement has an under-lying intensity sustained throughout. In places, the music opens up into a passionate out-pouring of emotion, only to return to the quiet yearning that opens the movement. This yearning is resolved as quietly as it began. The form is the standard sonata-allegro form.
The first movement of Mendelssohn's first piano concert in G minor, Op. 25 is next! So excited. I love this concerto. Pianist Martha Fischer will be playing the orchestral reduction. Sasha had this to say about the work as a whole and the movement she is playing for us today: Mendelssohn composed this concerto in 1831. He told his family it was hastily and carelessly done. Sasha disagrees. :) I second her opinion. But to continue, this concerto is considered to be the first truly Romantic concerto. Rather than opening with a long orchestral tutti in which the first theme is introduced, the orchestra has a brief opening, like a drum roll, androgen the piano enters with vim and vigor introducing g the first theme. Sasha has some absolutely marvelous finger-work and turn aroids at the tops of scales and arpeggios are beautiful.
We are going to be graced again with the first movement of Brahms' Sonata for cello and piano in E minor, Op. 38. Collaborating with Sasha is cellist Scott Tisdel of the MSO. Both musicians are demonstrating sensitive playing. This movement has an under-lying intensity sustained throughout. In places, the music opens up into a passionate out-pouring of emotion, only to return to the quiet yearning that opens the movement. This yearning is resolved as quietly as it began. The form is the standard sonata-allegro form.
The first movement of Mendelssohn's first piano concert in G minor, Op. 25 is next! So excited. I love this concerto. Pianist Martha Fischer will be playing the orchestral reduction. Sasha had this to say about the work as a whole and the movement she is playing for us today: Mendelssohn composed this concerto in 1831. He told his family it was hastily and carelessly done. Sasha disagrees. :) I second her opinion. But to continue, this concerto is considered to be the first truly Romantic concerto. Rather than opening with a long orchestral tutti in which the first theme is introduced, the orchestra has a brief opening, like a drum roll, androgen the piano enters with vim and vigor introducing g the first theme. Sasha has some absolutely marvelous finger-work and turn aroids at the tops of scales and arpeggios are beautiful.
PianoArts 2014, Collaborative Recital - Priscilla Navarro
Great program opener: Los requiebros from Goyescas, Op. 11 by Granados. Navarro shared with us that Granados found inspiration for these pieces from Goye (spelling? I'll come back and correct when I can!), a Spanish painter. The title, Goyescas, means inspired by Goye. And the title of this first piece, Los requiebros, means flattery. Priscilla's sensitive touch and excellent technique are well-matched to this piece. Granados is a serious composer for pianists. His piano compositions are big and demanding. Priscilla played this piece beautifully.
Her collaborative piece is Schumann's Fantasiestucke for cello and piano, Op. 73. Cellist, Adrien Zitoun, is joining Navarro for this piece. Priscilla's voicing right away was warm and sensitive to both the music itself and the cellist. The two make a wonderful duo. Navarro's phrasing and coloring are exquisite. Similar to Shumann's concerto, the pianist has many broken chords supporting the melody. This suite is gorgeous, but has many passages that lie rather awkwardly under the hands. Additionally, this suite, built of three movements, has almost a stream-of-consciousness feeling to it within each movement as well as in the work as a whole. It can be (and is by our performers today) played straight through with almost no pause between movements. Each movement develops the thought of the previous movement a bit more, expanding and adding to the first movements idea.
Navarro is playing the first movement of Beethoven's third piano concerto in C minor, Op. 37. Stefanie Jacob is playing the orchestral reduction for Navarro. Navarro gave us a few thoughts about the concerto: All five of Beethoven's piano concerti are distinctive, however, this third concerto is really a path to the future in Beethoven's developing musical self. It has turbulent emotions and is much more direct and muscular. While this movement is in C minor, the second movement is in E major, a key very distant from C minor. Indeed, they do not have anything in common. Even today, this extreme key difference creates a breath-taking contrast, but especially in Beethoven's time this sort of key change was highly unusual and unexpected. The final movement, a rondo (and what a fabulous rondo it is!) is much lighter in character than the first movement, though they do share the same key signature. Navarro's performance was solid and accurate. Well played.
Her collaborative piece is Schumann's Fantasiestucke for cello and piano, Op. 73. Cellist, Adrien Zitoun, is joining Navarro for this piece. Priscilla's voicing right away was warm and sensitive to both the music itself and the cellist. The two make a wonderful duo. Navarro's phrasing and coloring are exquisite. Similar to Shumann's concerto, the pianist has many broken chords supporting the melody. This suite is gorgeous, but has many passages that lie rather awkwardly under the hands. Additionally, this suite, built of three movements, has almost a stream-of-consciousness feeling to it within each movement as well as in the work as a whole. It can be (and is by our performers today) played straight through with almost no pause between movements. Each movement develops the thought of the previous movement a bit more, expanding and adding to the first movements idea.
Navarro is playing the first movement of Beethoven's third piano concerto in C minor, Op. 37. Stefanie Jacob is playing the orchestral reduction for Navarro. Navarro gave us a few thoughts about the concerto: All five of Beethoven's piano concerti are distinctive, however, this third concerto is really a path to the future in Beethoven's developing musical self. It has turbulent emotions and is much more direct and muscular. While this movement is in C minor, the second movement is in E major, a key very distant from C minor. Indeed, they do not have anything in common. Even today, this extreme key difference creates a breath-taking contrast, but especially in Beethoven's time this sort of key change was highly unusual and unexpected. The final movement, a rondo (and what a fabulous rondo it is!) is much lighter in character than the first movement, though they do share the same key signature. Navarro's performance was solid and accurate. Well played.
PianoArts 2014, Collaborative Recital - Derek Wang
Derek is treating us to Alban Berg's Sonata, Op. 1. He shared a few comments with us before starting: This sonata is passionate and futuristic. It ends with death and tragedy. Originally, Berg had planned to write second and third movements for this piece. However, he couldn't come up with any satisfactory ideas. When Berg shared his problem with his teacher, Schoenberg, he replied that there wasn't anything more to say; Berg had said it all. Wang is performing this piece effectively and well, capturing the different moods in the work.
More Brahms! This time the Allegro amabile (movement 1) from Brahms' Sonata No. 2 for violin and piano in A major, Op. 100. Okay, a personal note here. While I enjoy Brahms, I find him a challenge to understand and interpret well. He has thick textures, lots of big chords, uses much syncopation, loves employing two-against-three and is a master at long, passionate melodic lines. I've been studying his rhapsodies and thus have been contemplating him much. Getting to hear other works with different combinations of instruments by the same composer is always beneficial in developing understanding of a composer, so I am really appreciating the Brahms sonata movements being performed today. Wang is joined by violinist, Jennifer Startt. In comparison to Brahms' first and third violin and piano sonatas, this movement is light and has moments of almost being care-free. The two did a lovely job presenting it.
Wang's concerto is the Schumann's concerto on A minor, Op. 54. He will be performing the first movement today with pianist Martha Fischer playing the orchestra part. Such a gripping first theme in this movement. Derek spoke about this piece: The opening three notes of the first theme are c, b-flat and a. In German this would be c, h and a. One of the greatest romances in musical history is that between Robert Schumann and Clara Weick. Many of Schumann's compositions allude directly and indirectly to her. In this concerto, perhaps that allusion that can be seen in the opening notes of the theme as Robert's nickname for Clara was Chiarina - C, H and A being three of the first four letters in that name. Through this movement as well the rest of the concerto, there is a sense of conversation between the soloist and orchestra. Maybe this is Robert and Clara conversing with each other? :) Wang has a very good sense for this concerto. He has also done some excellent voicing of the melody again the busyness of the accompaniment. Speaking of accompaniment, one of the challenges of this concerto is that is almost entirely built of broken chords. The opening theme being choral-like is about the only place in the first and last movements that there isn't arpeggios. And, of course, those broken chords aren't just arranged as an arpeggio would be, but in different patterns and different keys too. This means the pianist has to be rock-solid in his/her knowledge of the chord structure of this piece. The coda of this movement is one of my favorite piano concerto codas...passionate and intense. Well played by both pianists!
More Brahms! This time the Allegro amabile (movement 1) from Brahms' Sonata No. 2 for violin and piano in A major, Op. 100. Okay, a personal note here. While I enjoy Brahms, I find him a challenge to understand and interpret well. He has thick textures, lots of big chords, uses much syncopation, loves employing two-against-three and is a master at long, passionate melodic lines. I've been studying his rhapsodies and thus have been contemplating him much. Getting to hear other works with different combinations of instruments by the same composer is always beneficial in developing understanding of a composer, so I am really appreciating the Brahms sonata movements being performed today. Wang is joined by violinist, Jennifer Startt. In comparison to Brahms' first and third violin and piano sonatas, this movement is light and has moments of almost being care-free. The two did a lovely job presenting it.
Wang's concerto is the Schumann's concerto on A minor, Op. 54. He will be performing the first movement today with pianist Martha Fischer playing the orchestra part. Such a gripping first theme in this movement. Derek spoke about this piece: The opening three notes of the first theme are c, b-flat and a. In German this would be c, h and a. One of the greatest romances in musical history is that between Robert Schumann and Clara Weick. Many of Schumann's compositions allude directly and indirectly to her. In this concerto, perhaps that allusion that can be seen in the opening notes of the theme as Robert's nickname for Clara was Chiarina - C, H and A being three of the first four letters in that name. Through this movement as well the rest of the concerto, there is a sense of conversation between the soloist and orchestra. Maybe this is Robert and Clara conversing with each other? :) Wang has a very good sense for this concerto. He has also done some excellent voicing of the melody again the busyness of the accompaniment. Speaking of accompaniment, one of the challenges of this concerto is that is almost entirely built of broken chords. The opening theme being choral-like is about the only place in the first and last movements that there isn't arpeggios. And, of course, those broken chords aren't just arranged as an arpeggio would be, but in different patterns and different keys too. This means the pianist has to be rock-solid in his/her knowledge of the chord structure of this piece. The coda of this movement is one of my favorite piano concerto codas...passionate and intense. Well played by both pianists!
PianoArts 2014, Collaborative Recitals - Carmen Knoll
Another contestant not wasting her time this morning getting down to business. Knoll is opening her program with the Allegro inquieto movement I of Prokofiev's Sonata No. 7 in B-flat major, Op. 83. Strong performance. Knoll is demanding our attention through her playing. Before starting, she shared with us that this sonata was a war-time sonata. Prokofiev did not want to write it, but was forced to by Stalin. It is angular, lyrical in places and jarring as is Prokofiev's style.
Up next, the Allegro con brio movement I of Beethoven's Sonata for violin and piano in C minor, Op. 22. Violinist Timothy Klabunde is joining Knoll for this piece. Knoll is once again showing her ownership of the piece. The collaboration between the two is excellent. Well done.
To close her collaborative program, Knoll is playing the first movement (Andante sostenuto) of Saint-Saens Concerto No. 2 in G minor, Op. 22 with pianist, Martha Fischer. Knoll provided some insight into the composer and concerto: Saint-Saens was a man of many talents. He was a philosopher, pianist, organist, etc. he was influenced by Bach and this concerto shows it in the use of a pedal point and a fugue-like opening theme. This concerto deviates slightly from the norm in that the soloist brings in the orchestra as opposed to the traditional bringing in of the soloist by the orchestra. Both pianists are doing a fabulous job.
Up next, the Allegro con brio movement I of Beethoven's Sonata for violin and piano in C minor, Op. 22. Violinist Timothy Klabunde is joining Knoll for this piece. Knoll is once again showing her ownership of the piece. The collaboration between the two is excellent. Well done.
To close her collaborative program, Knoll is playing the first movement (Andante sostenuto) of Saint-Saens Concerto No. 2 in G minor, Op. 22 with pianist, Martha Fischer. Knoll provided some insight into the composer and concerto: Saint-Saens was a man of many talents. He was a philosopher, pianist, organist, etc. he was influenced by Bach and this concerto shows it in the use of a pedal point and a fugue-like opening theme. This concerto deviates slightly from the norm in that the soloist brings in the orchestra as opposed to the traditional bringing in of the soloist by the orchestra. Both pianists are doing a fabulous job.
PianoArts 2014, Collaborative Recital - Stephanie Tang
Stephanie isn't wasting her time getting down to business this morning. She is opening her collaborative recital with Schumann's Toccata in C major, Op. 7. If you're looking for a good finger work-out, this is the piece in which to accomplish that. Octaves, undulating intervals in one or both hands and scales are the prominent features of this piece.
On to the richness of the first movement of Brahms' Sonata for cello and piano in E minor, Op. 38, Allegro non troppo. Scott Tisdel, cellist, is joining Tang for this piece. Brahms is an amazing composer. His work is very demanding requiring the ability to create long lines and maintain a tensile intensity even through softer, seemingly more relaxed sections. In pieces like this, I always appreciate listening to how the string player maintains, decreases or increases intensity through his/her bowing. Tang and Tisdel are presenting a beautiful performance of this movement.
Next is the first movement of Beethoven's Concerto No. 3 in C minor, Op. 37, Allegro con brio. Tang gave us some information on this concerto: This concerto's key of C minor is a key that appears throughout Beethoven's works including his Pathatique sonata, Op. 13, his final piano sonata, Op. 111, and his 5th symphony. This concerto also tips it's hat to Mozart's 24th piano concerto, in C minor too. Beethoven very much admired this particular Mozart piano concerto and that can be seen not only in the key, but also in the opening theme. When this concerto was first performed, it was put on a program that included Beethoven's first and second symphonies plus his oratorio. Whew, what a night that must have been. It was a long one, for sure. It was also a long day for the musicians performing the concert as they rehearsed virtually the entire day. Beethoven himself played the piano for the concerto. He had not had enough time to completely write out the piano part. According to his page-turner, the manuscript Beethoven used had almost nothing on it and what was there looked like Egyptian hieroglyphics. Bet that page-turner had a rough night. Brava to Tang and Jacobs on a terrific performance!
On to the richness of the first movement of Brahms' Sonata for cello and piano in E minor, Op. 38, Allegro non troppo. Scott Tisdel, cellist, is joining Tang for this piece. Brahms is an amazing composer. His work is very demanding requiring the ability to create long lines and maintain a tensile intensity even through softer, seemingly more relaxed sections. In pieces like this, I always appreciate listening to how the string player maintains, decreases or increases intensity through his/her bowing. Tang and Tisdel are presenting a beautiful performance of this movement.
Next is the first movement of Beethoven's Concerto No. 3 in C minor, Op. 37, Allegro con brio. Tang gave us some information on this concerto: This concerto's key of C minor is a key that appears throughout Beethoven's works including his Pathatique sonata, Op. 13, his final piano sonata, Op. 111, and his 5th symphony. This concerto also tips it's hat to Mozart's 24th piano concerto, in C minor too. Beethoven very much admired this particular Mozart piano concerto and that can be seen not only in the key, but also in the opening theme. When this concerto was first performed, it was put on a program that included Beethoven's first and second symphonies plus his oratorio. Whew, what a night that must have been. It was a long one, for sure. It was also a long day for the musicians performing the concert as they rehearsed virtually the entire day. Beethoven himself played the piano for the concerto. He had not had enough time to completely write out the piano part. According to his page-turner, the manuscript Beethoven used had almost nothing on it and what was there looked like Egyptian hieroglyphics. Bet that page-turner had a rough night. Brava to Tang and Jacobs on a terrific performance!
PianoArts 2014, Collaborative Recital - Tristan Teo
Good morning! The Collaborative Recitals are off and running here at the Wisconsin Conservatory of Music. Tristan Teo is opening his program with Chopin's Polonaise No. 5 in F-sharp minor, Op. 44. If you weren't awake before, you should be now. :) The contrasting characters in this Polonaise are attention-getting. Tristan is giving us a sensitive as well as powerful performance of the piece and I'm enjoying it.
Beethoven's Sonata for Violinand Piano in D Major, Op. 12/1, movement I: Allegro con brio. Violinist Timothy Klabunde of the MSO is performing with Tristan. Collaborative work requires a different aspect of musicianship than solo work, so including this kind of performing in a competition gives the pianist a chance to display another important aspect of his/her skill set. Collaborating with another musician requires both people to listen to each other, interact with one another, and balance his/her part with the other person. The movement that Teo and Klabunde are performing has many lines being handed back-and-forth in call and response fashion. Their ensemble is very nice.
To close his collaborative program, Tristan will be playing the first movement of Mozart's Concerto No. 21 in C major, Kochel 467 (Allegro maestoso) with Stefanie Jacob, pianist, playing the orchestral part. What a cheerful movement. Great music for the morning. Some interesting comments provided for us by Tristan: This concerto was written four weeks after Mozart completed his darkest concerto, Concerto No. 20 in D minor. There is no cadenza in this concerto, so Tristan wrote his own combining the darkness of the D minor concerto with the happiness of C major concerto by placing the second theme in minor. Additionally, Tristan develops another theme from the concerto as an operatic duet between the two hands, reflecting both his own love of opera as well as Mozart's operatic flair that permeates his compositions. Also included in this movement is a snippet of a theme from Mozart's G minor symphony.
Beethoven's Sonata for Violinand Piano in D Major, Op. 12/1, movement I: Allegro con brio. Violinist Timothy Klabunde of the MSO is performing with Tristan. Collaborative work requires a different aspect of musicianship than solo work, so including this kind of performing in a competition gives the pianist a chance to display another important aspect of his/her skill set. Collaborating with another musician requires both people to listen to each other, interact with one another, and balance his/her part with the other person. The movement that Teo and Klabunde are performing has many lines being handed back-and-forth in call and response fashion. Their ensemble is very nice.
To close his collaborative program, Tristan will be playing the first movement of Mozart's Concerto No. 21 in C major, Kochel 467 (Allegro maestoso) with Stefanie Jacob, pianist, playing the orchestral part. What a cheerful movement. Great music for the morning. Some interesting comments provided for us by Tristan: This concerto was written four weeks after Mozart completed his darkest concerto, Concerto No. 20 in D minor. There is no cadenza in this concerto, so Tristan wrote his own combining the darkness of the D minor concerto with the happiness of C major concerto by placing the second theme in minor. Additionally, Tristan develops another theme from the concerto as an operatic duet between the two hands, reflecting both his own love of opera as well as Mozart's operatic flair that permeates his compositions. Also included in this movement is a snippet of a theme from Mozart's G minor symphony.
Saturday, June 7, 2014
PianoArts 2014, Solo Recital 11 - Aleksandra Kasman
Aleksandra Kasman dove directly into the fray with her opening recital entry, J S Bach's "Chromatic Fantasia and Fugue," in which her brilliant imagination immediately grabbed our attention and held it through each surprising twist in Bach's convoluted storyline. It is a rather impressive feat to make so much sense out of such an unlikely musical tale as Bach tells in the Fantasia portion of the work; kudos to Kasman on this score. Kasman garnered equal success in the fugue following-- a fugue of such chromatic abundance that it makes King Frederick's gifted theme for Bach's Musical Offering look rather plain (though to be fair, Bach didn't attempt to write a 6-voice fugue on this one....).
With Chopin's Nocturne in Ab Major, Op 32 No 2, Kasman takes us about as far in the opposite musical direction as one can get from the Bach (the distance between the works' keys shows this distance also). Kasman proves just as convincing in this milieu as she was in Bach's chromatic world; Kasman's strongly felt and persuasive charisma lend absolute credence to every note she plays... One thinks of Horowitz.
Kasman provides a thoughtful introduction to a very different Nocturne from Lowell Liebermann, highlighting the less common phenomenon of tonal music among 20-21st century composers. She highlights images of a choir singing a grieving but "controlled" dirge and an avalanche-like climax, out of which rises the original melody, possible more resigned, but ending with a hopeful note. Not only are her musical ideas again persuasive, but her textural layering is incredible in this work. A fantastic and interesting work from Liebermann, wonderfully evoked by Kasman.
The humorous and wildly awesome Prelude and Fugue in Db Major by Dmitri Shostakovich showed a contrasting polyphonic book-end to the opening Bach work. Superbly executed by Kasman, and a rousing finish to one of the more moving recitals I have seen in recent years.
With Chopin's Nocturne in Ab Major, Op 32 No 2, Kasman takes us about as far in the opposite musical direction as one can get from the Bach (the distance between the works' keys shows this distance also). Kasman proves just as convincing in this milieu as she was in Bach's chromatic world; Kasman's strongly felt and persuasive charisma lend absolute credence to every note she plays... One thinks of Horowitz.
Kasman provides a thoughtful introduction to a very different Nocturne from Lowell Liebermann, highlighting the less common phenomenon of tonal music among 20-21st century composers. She highlights images of a choir singing a grieving but "controlled" dirge and an avalanche-like climax, out of which rises the original melody, possible more resigned, but ending with a hopeful note. Not only are her musical ideas again persuasive, but her textural layering is incredible in this work. A fantastic and interesting work from Liebermann, wonderfully evoked by Kasman.
The humorous and wildly awesome Prelude and Fugue in Db Major by Dmitri Shostakovich showed a contrasting polyphonic book-end to the opening Bach work. Superbly executed by Kasman, and a rousing finish to one of the more moving recitals I have seen in recent years.
PianoArts 2014, Solo Recital 10 - Carmen Knoll
Carmen Knoll opened her solo recital with the sweet and melancholy F# minor prelude and fugue from the second book of J S Bach's Well-Tempered Clavier, which came across beautifully with her full and open musical voice. After the lyrical prelude, the fugue danced nicely under Knoll's able fingers.
The musical tour continued with the grave first movement of Chopin's second piano sonata (the "Funeral March" sonata, after the well-known slow movement) -- one of the more large-scale works heard in today's solo recitals. And the work came across large as well; Knoll's commanding sound and breadth of ideas served the drama well. A beautiful and moving performance.
Elliott Carter's "Caténaires" illustrates the meaning of the French word, which means "electric cables." And indeed the music snapped, crackled, and popped just like as many electrons in an electric wire going from point A to point B.... The blistering virtuosity in this performance was all the more impressive knowing how un-idiomatic and unusual the jumps and figures are, which she demonstrates before the performance. Very impressive...!
Knoll brings us back to the expressive world of Chopin with the elegiac and poignant Nocturne in C minor, Op 48 No 1. Again, Knoll captures a spacious expressivity in the music. Her passion for the music inspires a similar reaction in the audience... (Or at least in this audience member!)
For the grand finale, Carmen Knoll brings us the Volodos version of Liszt's Hungarian Rhapsody No 13. According to Knoll, Volodos adds more notes and flourishes to the original in order to make the performer evening crazier and wilder...! Indeed, the gestures in this folk-music-flavored work were quite extravagant. An expressive opening gives way to a fantastical and whizz-bang romp of a finish. A great recital from Carmen Knoll!
The musical tour continued with the grave first movement of Chopin's second piano sonata (the "Funeral March" sonata, after the well-known slow movement) -- one of the more large-scale works heard in today's solo recitals. And the work came across large as well; Knoll's commanding sound and breadth of ideas served the drama well. A beautiful and moving performance.
Elliott Carter's "Caténaires" illustrates the meaning of the French word, which means "electric cables." And indeed the music snapped, crackled, and popped just like as many electrons in an electric wire going from point A to point B.... The blistering virtuosity in this performance was all the more impressive knowing how un-idiomatic and unusual the jumps and figures are, which she demonstrates before the performance. Very impressive...!
Knoll brings us back to the expressive world of Chopin with the elegiac and poignant Nocturne in C minor, Op 48 No 1. Again, Knoll captures a spacious expressivity in the music. Her passion for the music inspires a similar reaction in the audience... (Or at least in this audience member!)
For the grand finale, Carmen Knoll brings us the Volodos version of Liszt's Hungarian Rhapsody No 13. According to Knoll, Volodos adds more notes and flourishes to the original in order to make the performer evening crazier and wilder...! Indeed, the gestures in this folk-music-flavored work were quite extravagant. An expressive opening gives way to a fantastical and whizz-bang romp of a finish. A great recital from Carmen Knoll!
PianoArts 2014, Solo Recital 9 - Huan Li
This is now Tyler Wottrich writing, as Mary Anna Salo has been called away from the Conservatory for the afternoon. As it happens, I competed in the PianoArts competition the same year as Mary Anna, so it seems fitting that we would end up tag-teaming today's posts.
The 1st movement "Sinfonia" of J S Bach's second keyboard Partita in C minor served as a stately opening to Huan Li's recital, with its opening reminiscent of the French overture style and subsequent sections which gradually grow in movement. She paired the "Sinfonia" with the second movement of the Partita, the "Allemande." Li's playing of the Bach was poised, colorful, and thoughtfully expressive-- a very attractive combination of traits.
Huan Li continued her program in the relative major of the Bach C minor Partita with Chopin's Nocturne in Eb Major, Op 55 No 2, whose long melodic lines Li sustained beautifully. As was also true in her performance of Bach, the clarity of texture and superb contrapuntal balance allowed listeners to fully relish the richness of Chopin's musical tapestries.
"Une barque sur l'océan" from Ravel's Miroirs cast us into a very different world than we had been enjoying so far, and again Huan Li's musical ideas were expressed in full lush technicolor. This music, which seems to fly across and space, emotion, and color, truly transports the listener out of the concert hall and into the aether (Huan Li was an excellent guide for this experience...!).
Lowell Liebermann's "Gargoyles" brought us solidly back to earth. What is "Gargoyles?" Huan Li asks the audience. "Fantastic monsters in churches or old buildings to scare away evil spirits." She proceeds to give a vivid, characterful, and sometimes amusing account of what she sees in each of the four movements:
1. Thunder or devils contrast with a peaceful night.. Something's happening but no one knows yet.
2. Intervals are special in this movement: dissonances abound, but there is an innocent and simple melody in the right hand.
3. Huan Li tells us this movement is her favorite. Colors and mysterious feeling... The embedded melody is simple but very expressive. What she sees in the music: a water sprite confessing her love to a human being!
4. A ferocious and violent movement. Hundreds of monsters are invading!!
Sitting in the hall listening, not one of these details is lost in her impressive performance.
Brava Huan Li!
The 1st movement "Sinfonia" of J S Bach's second keyboard Partita in C minor served as a stately opening to Huan Li's recital, with its opening reminiscent of the French overture style and subsequent sections which gradually grow in movement. She paired the "Sinfonia" with the second movement of the Partita, the "Allemande." Li's playing of the Bach was poised, colorful, and thoughtfully expressive-- a very attractive combination of traits.
Huan Li continued her program in the relative major of the Bach C minor Partita with Chopin's Nocturne in Eb Major, Op 55 No 2, whose long melodic lines Li sustained beautifully. As was also true in her performance of Bach, the clarity of texture and superb contrapuntal balance allowed listeners to fully relish the richness of Chopin's musical tapestries.
"Une barque sur l'océan" from Ravel's Miroirs cast us into a very different world than we had been enjoying so far, and again Huan Li's musical ideas were expressed in full lush technicolor. This music, which seems to fly across and space, emotion, and color, truly transports the listener out of the concert hall and into the aether (Huan Li was an excellent guide for this experience...!).
Lowell Liebermann's "Gargoyles" brought us solidly back to earth. What is "Gargoyles?" Huan Li asks the audience. "Fantastic monsters in churches or old buildings to scare away evil spirits." She proceeds to give a vivid, characterful, and sometimes amusing account of what she sees in each of the four movements:
1. Thunder or devils contrast with a peaceful night.. Something's happening but no one knows yet.
2. Intervals are special in this movement: dissonances abound, but there is an innocent and simple melody in the right hand.
3. Huan Li tells us this movement is her favorite. Colors and mysterious feeling... The embedded melody is simple but very expressive. What she sees in the music: a water sprite confessing her love to a human being!
4. A ferocious and violent movement. Hundreds of monsters are invading!!
Sitting in the hall listening, not one of these details is lost in her impressive performance.
Brava Huan Li!
PianoArts 2014, Solo Recital 8 - Stephanie Tang
Bach's Prelude and Fugue No. 15 in G major, BWV 884 is Stephanie's opening piece. The prelude is a cheerful piece requiring quick, light fingers. Tang has these. I liked her crisp articulation of the fugue subject. Appropriate decision for this fugue. On to Beethoven! Tang chose the first movement of Beethoven's Sonata No. 4 in E-flat major, Op. 7: Allegro molto e con brio. As a whole, this sonata comes from Beethoven's early years. It is already very characteristic of him featuring sudden dynamic changes, punctuating chords and accents in unexpected places and drama. The classical element of Sturm und Drung is definitely present. Beethoven was the master of motivic development capable of expanding upon a small idea for measure upon measure. Adams is also a master of repetition, but 20th century style. Tang is playing his "China Gates" for her contemporary piece. Paraphrasing her comments on this piece...the gates in this piece are the pieces form. Each gate is introduced by a low bass note followed by 4 right hand melody notes. These notes are then repeated until the next gate is reached. The right hand melody of each gate is varied slightly. As the piece goes towards the middle, the gates get smaller (i.e., less time between the start of each gate) until the bass note is completely eliminated. As the pieces comes away from the middle to the end, the gates grow larger once more and the bass note returns. John Adams calls this piece a perfect palindrome. Tang selected this work because she found it tranquil, calm, hypnotic, trance-like and because it makes you appreciate even the smallest changes in music. To close her program, Tang is playing two pieces by Chopin: his Nocturne No. 16 in E-flat major, Op. 55, No. 2 and his Polonaise-Fantasie in A-flat major, Op. 61. The Polonaise-Fantasie makes use of the Polish dance, the Polonaise, but still maintains a free form, thus the term "Fantasie" included in the title. Chopin is a fascinating combination of lyrical and virtuosic. Even in pieces or parts of pieces that are more subdued and reflective in nature, he still requires a virtuosity and intensity from the performer. Chopin can wear virtuosity on his sleeve or tuck it inside his dress coat. Either way, it is still powerful. Nice decision by Tang to pair these Chopin pieces at the end of her program.
PianoArts 2014, Solo Recital 7 - Allison Freeman
Allison's opening piece is Bach's Prelude and Fugue No. 4 in C-sharp minor, BWV 849. Daunting piece with which to begin. The fugue is a 5-voice fugue. She brought out the entrance of each nicely. Her control over the mood and color of the piece is also nicely done. Freeman's second piece, her contemporary selection, is Nach Bach: Fantasia for Harpsichord or Piano by Rochberg. Freeman told us that this piece comes with an instruction manual for the performer, so she thought if the performer needed an instruction manual, the audience must too. She broke down the piece into 4 ideas for us (can't resist...going to have some fun the two composer's names): 1. Direct quotes from Bach, specifically his 6th partita in E minor; 2. Quotes from Bach, but embellished by Rochberg; 3. Material written by Rochbeg hat sounds as though it was written by Bach; 4. Rochberg's original material. One other of note in this piece: a quote from Brahms' Op. 117. From Rochberg, we've moved right into Chopin's lush Nocturne, No. 16 in E-flat major, Op. 55, No. 2. I like Freeman's decision to program this nocturne after the Rochberg piece. Provides a beautiful contrast. Up next is one of Rachmaninoff's Étude-Tableaux. To be exact, Étude-Tableau in A minor, Op. 39, No. 6. Rachmaninoff is my favorite composer so I'm looking forward to this piece. :) Freeman has a good mastery of the technicality of this piece. She shared with us that this étude is based on the story of Little Red Riding Hood and the Big, Bad Wolf. Concluding her program is Chopin's Ballade No. 4 in F minor, Op. 52. Massive work and well played.
PianoArts 2014, Solo Recital 6 - Tristan Teo
Bach is just a good composer with whom to open a program. All of the contestants are required to bring a work by Bach, thus his appearance on every recital. Tristan is performing the Prelude and Fugue No. 16 in G minor, BWV 861. The prelude and fugue are a contrast in style. The prelude is thoughtful, slow-paced and chordal, while the fugue firmly establishes itself with an energetic theme. Tristan's contemporary selection is the fourth movement of Rzewski's North American Ballads, Winnsboro Cottonmill Blues. I wasn't familiar with this piece until last year when (here comes a bit of PianoArts trivia) I met Jacob Ertl, second place winner in the 2002 competition, at Dakota Sky International Piano Festival in Sioux Falls, SD. This particular piece was one he used in his doctoral work and has become a staple in his rep. Fun to hear our 6th contestant playing this movement today. Paraphrasing Tristan's comments on it...the pieces in this set are depicting slavery in the American South. Rzewski uses thick chords in the bass registers of the piano to portray the sound of hundreds of cotton mills running. To facilitate these thick textures, the forearms and elbows are used with the melody placed where the elbow hits the keys. The inspiration for this piece is two-fold: a 1979 drama movie (missed the title. Will get it!) and an American folk tune called...you guessed it - Winnsboro Cottonmill Blues. Following this programmatic piece is Chopin's Nocturne No. 13 in C minor, Op. 48, No. 1. It is a gorgeous nocturne. Teo is controlling and pacing the intensity of this piece well. Closing Teo's program is Ravel's La Valse. As I said earlier, these young artists have some fantastic programs. Tristan made good selections for his solo program; the pieces fit his musical personality and temperament and show his skill set nicely. Back to La Valse; such a fun piece. It's warm, lyrical, colorful, and I wish I could get up and dance to it. :)
PianoArts 2014, Solo Recital 5 - Sasha Bult-Ito
To open her program, Sasha is playing Bach's Prelude and Fugue No. 17 in A-flat major, BWV 886. Her finger work on the prelude was lovely and her projection of each of the voices in the fugue well done. Fugues are tricky pieces due to having to keep track of several melodic ideas at the same time. Sasha managed this beautifully. The first movement (Largo, Allegro) from Beethoven's Sonata No. 17 in D minor, Op. 31, No. 2 is next. This piece alternates between quiet yet suspenseful sections and quick, agitated sections. Sasha took us from one to the other and back again with grace, putting across the character changes well. The Chopin nocturne she selected is No. 4 in F major, Op. 15, No.1. It opens with a lilting and sweet Andante cantabile. A middle section marked "Con fuoco" in F minor, disturbs atmosphere of the Andante. It is a fiery, intense section. Peace and calm are restored with the return of the Andante cantabile. Moving to the contemporary realm, Sasha is performing the second of Rochberg's Four Short Sonatas, Molto Rubato. Paraphrasing her comments on this sonata...the set was completed in 1984. The influence of Debussy can be heard in the parallel chords and sustained damper pedal. Rochberg is meticulous with his dynamic markings, making it very clear to the performer what he wants. He does not provide a time signature, nor does he use solid bar lines, rather dashed lines, leading the performer to think the piece will feel improvisatory. However, as one studies the piece it becomes apparent that it is structured. The sonata allegro form can be traced through the sonata with first and second themes (first theme being more an idea based on the opening chord) being stated, developed and then recapped.
Progressing to Sasha's closing piece, Liszt's Hungarian Rhapsody No. 12 in C-sharp minor, S. 244/12. Sasha chose this piece because she finds Liszt's use of many small sections that, while having their own distinct character, he brings together into one magnificent piece. Good description. This rhapsody is composed of many small sections, as Sasha stated, and she is doing an excellent job of showing is the unity that exists between those sections.
Progressing to Sasha's closing piece, Liszt's Hungarian Rhapsody No. 12 in C-sharp minor, S. 244/12. Sasha chose this piece because she finds Liszt's use of many small sections that, while having their own distinct character, he brings together into one magnificent piece. Good description. This rhapsody is composed of many small sections, as Sasha stated, and she is doing an excellent job of showing is the unity that exists between those sections.
PianoArts 2014, Solo Recital 4 - Priscilla Navarro
And we have another Bach Toccata to relish, this one in C minor, BWV 911. I am enjoying the variety of Bach we are hearing today. Navarro stated she enjoys Bach both because he is complex, but he also expresses the depth and breadth of human emotions and spirituality. She has a lovely touch and varies it well to reflect the changing emotions of the piece. This toccata closes with quite the fugue. She is well-suited to this music. Navarro's next piece is Chopin's Nocturne in C minor, Op. 48, No. 1. For me, this piece is most certainly a flashback to 2007 competition as this is the nocturne I played in my program. Navarro described the work as having a "sense of great grief and tragedy." A very fitting description. Her transitions between sections are well done in both timing and tone. Liszt's Mephisto Waltz No. 1, S. 514 is next. These young artists have got fabulous programs...back to Mephisto! Liszt's Mephisto waltzes are known for their virtuosity and technical challenge. Navarro shared with us that Liszt based this piece on the mythic character of Faust, a soldier dissatisfied with life who makes a pact with the devil to exchange his soul for knowledge of all worldly pleasures. He proceeds to lead the villagers in the village where he resides into sin. Nice guy. Navarro once again is showing her skill in taking us through the varying sections of a work without loosing us along the way. She also has the necessary technique to present this piece convincingly.
Closing her program, Navarro is performing Earl Wild's arrangement of Gershwins's "I Got Rhythem" from Wild's Seven Virtuoso Etudes on Gershwin Songs. Great piece with which to end a program!
Closing her program, Navarro is performing Earl Wild's arrangement of Gershwins's "I Got Rhythem" from Wild's Seven Virtuoso Etudes on Gershwin Songs. Great piece with which to end a program!
PianoArts 2014, Solo Recital 3 - Ling-Yu Lee
Lee is beginning her program with Bach's Prelude and Fugue No. 24 in B minor, BWV 893. She has a very sensitive touch and a good sense for the character of this piece. Though in a minor key, the prelude has a feeling of playfulness in spots and Lee picked up on this and brought it out. Well done. Next is Chopin's Étude in C major, Op. 10, No. 1. Love this piece. It is very technically demanding for the performer due to the continually changing arpeggios with the melody tucked in various places throughout, this making voicing, not to mention finger equality, a challenge. Lee's interpretation was sensitive and accurate, moving gracefully and musically through the work. On to another piece I love...Beethoven's third movement (Allegro ma non troppo) from his Sonata No. 23 in F minor, Op. 57. Again, another ethnically demanding piece. Lee commented on the contrast in colors and emotions between this piece and Chopin pieces on either side of it (Chopin's Nocturne in D-flat major, Op. 27, No. 2). Her comments were well chosen. The étude is bright and cherry and then we were pulled instantly into the dark thunder clouds of this third movement of Beethoven's 23rd sonata. The up-coming nocturne will return us to a peaceful emotion. Lee did justice to the phrasing and voicing of the Beethoven. On to the nocturne...all composers have particular works that seem to have an extra-special touch and inspiration; to me, this is one of those pieces. The key of D-flat major has so much expressive potential and Chopin masterfully harnesses that potential in this nocturne. Lee has captured the intensity of this piece and is performing it with warmth and beauty.
Closing Lee's solo recital is Muczynski's Desperate Measures in A minor, Op. 48 (Paganini Variations). This is a jazzy interpretation by Muczynski of Paganini's famous theme. Paraphrasing Lee's comments...Muczynski incorporates the jazz sound and feel through rhythm by placing emphasis on weak beats; by imitating the improvisatory aspect of jazz through non-harmonic notes; the relaxed, lazy character of some jazz music. He also uses the tango and waltz in the variations. Fun fact about this piece and our contestant: It was composed in her birth year, 1994. Cool ;)
Closing Lee's solo recital is Muczynski's Desperate Measures in A minor, Op. 48 (Paganini Variations). This is a jazzy interpretation by Muczynski of Paganini's famous theme. Paraphrasing Lee's comments...Muczynski incorporates the jazz sound and feel through rhythm by placing emphasis on weak beats; by imitating the improvisatory aspect of jazz through non-harmonic notes; the relaxed, lazy character of some jazz music. He also uses the tango and waltz in the variations. Fun fact about this piece and our contestant: It was composed in her birth year, 1994. Cool ;)
PianoArts 2014, Solo Recital 2 - Derek Wang
Derek is opening his program with Bach's Toccata in C minor, Op. 10. No. 1. Toccatas are studies in contrast. Ma broad approximation of the form Bach follows for his toccatas is to begin with a declaratory section followed by an adagio and closing with an allegro (and that is a broad approximation). Toccatas demand technical facility and virtuosity from the performer. This particular toccata opens with a Fugue-like idea, quick and intense and then moves into a contemplative middle section, akin to a Sarabande. The closing section is a sprightly fugue. Wang is voicing the various layers of this piece nicely and also giving us definitive phrases so we are never lost in the activity of the piece. We are onto to Wang's second piece, Chopin's Étude No. 1 in C major, Op. 10, No. 1 virtually without pause after his completion of the Bach Toccata. Nice decision. He's speaking now briefly and echoed my earlier thought that there's nothing quite like Bach to start the day. His speaking manner is easy and engaging. Chopin's Nocturne No. 1 in B-flat minor, Op. 9, No. 1 is next. Wang's voicing and projection of the melodic line is excellent.
Derek's next piece is Beethoven's Sonata No. 27 in E minor, Op. 90. Paraphrasing Wang's comments on this...presented for a friend who had recently married, these movements represent the struggle of head and heart (mvt. I) and then conversation with the beloved (mvt. II). This sonata was the first to be composed after about a 5-year hiatus in piano sonata composition by Beethoven due to two major mental and emotional stressors: battle for custody of his nephew and then his affair with the lady who could not be his who has become known the Immortal Beloved. The second movement of this sonata is one of my favorite pieces. The melody and harmonization and treatment of that melody are beautiful and at the same time heart-rending. It is also graceful and sweet...assuredly like the Immortal Beloved was herself. While this movement opens in E major, it has brief hints and moments in minor revealing to us that, while Beethoven is finding happiness in his relationship with the Immortal Beloved, it isn't quite complete as she cannot be fully his. Wang is taking us through this work with ease. He captured the frustration and intensity of the first movement and then ushered us into the character change of the second movement.
To close his solo program, Wang is playing Barber's Nocturne "Homage to John Field," Op. 33. Once again paraphrasing Wang's comments...this piece is an interesting comparison to Chopin's nocturne. It maintains the character of the Nocturne, but in the 20th sound. Included in the title, " Homage to John Field," Barber was looking back to the lyricism of the 19th century while his contemporaries were looking forward to the angularity of the 20th century they were living in. Field was the pioneer of the nocturne genre.
Derek's next piece is Beethoven's Sonata No. 27 in E minor, Op. 90. Paraphrasing Wang's comments on this...presented for a friend who had recently married, these movements represent the struggle of head and heart (mvt. I) and then conversation with the beloved (mvt. II). This sonata was the first to be composed after about a 5-year hiatus in piano sonata composition by Beethoven due to two major mental and emotional stressors: battle for custody of his nephew and then his affair with the lady who could not be his who has become known the Immortal Beloved. The second movement of this sonata is one of my favorite pieces. The melody and harmonization and treatment of that melody are beautiful and at the same time heart-rending. It is also graceful and sweet...assuredly like the Immortal Beloved was herself. While this movement opens in E major, it has brief hints and moments in minor revealing to us that, while Beethoven is finding happiness in his relationship with the Immortal Beloved, it isn't quite complete as she cannot be fully his. Wang is taking us through this work with ease. He captured the frustration and intensity of the first movement and then ushered us into the character change of the second movement.
To close his solo program, Wang is playing Barber's Nocturne "Homage to John Field," Op. 33. Once again paraphrasing Wang's comments...this piece is an interesting comparison to Chopin's nocturne. It maintains the character of the Nocturne, but in the 20th sound. Included in the title, " Homage to John Field," Barber was looking back to the lyricism of the 19th century while his contemporaries were looking forward to the angularity of the 20th century they were living in. Field was the pioneer of the nocturne genre.
PianoArts 2014, Solo Recital 1 - Chaeyoung Park
What a pleasant start to the morning...Bach is so refreshing and Chaeyoung's performance
of his Prelude and Fugue in G Major, BWV 860 was beautiful. Articulate touch in the prelude and
nice layering in the fugue. She has moved on to Chopin's Nocturne, No. 14 in f-sharp minor, Op. 48, No. 2. This particular Nocturne I find quite enchanting. The melody of the A section is elegant and poignant. The middle section, which moves to a major key and is a choral, is a gentle contrast to the minor of the opening and closing. Chaeyoung's phrasing and touch capture the beauty of this piece.
Next is the first movement of Chopin's Sonata No. 2 in B-flat minor, Op. 35. This opening movement is tempestuous demanding your attention from the start. It moves into a major key briefly to state the second theme, but doesn't stay there for long. Moving into the development, Chopin returns to the minor key, but takes a fragment of the theme and pushes it through several key areas before bringing us back to a ray of sunshine with the return of the second theme. Park is taking us smoothly through each of these sections with power and grace.
Well, we are about to get quite the contrast. Park is presenting Dream Images (Love-Death Music) from Makrokosmos, Volume 1, Part 3, No. 11. Paraphrasing Park's comments on this piece...This work is based around the Zodiak signs and each piece represents a different sign and portrays its character. This movement is using Gemini as its inspiration. Crumb presents an original theme and then brings in the lyrical melody from Chopin's Fantasie Inpromptu contrasting the era he was working in and the era Chopin was working in.
Three movements from Stravinsky's Firebird, I. Dance Infernal; II. Berceuse; III. Finale, transcribed by Agosti, are closing Park's program. As is to be expected from knowing the orchestral version, these movements are a handful for the pianist requiring virtuosity and lyricism. Park is handling them beautifully. True confessions, Stravinsky's Firebird Suite is not a piece I love, but this piano rendition is very well-done and I am very much enjoying it. Hearing a piece performed on an instrument different from what it was originally composed for is always a fascinating thing. Not just in this instance, but in others as well, I find it gives added depth, understanding and appreciation of the piece. Chaeyoung has given us a marvelous performance of these three movements.
of his Prelude and Fugue in G Major, BWV 860 was beautiful. Articulate touch in the prelude and
nice layering in the fugue. She has moved on to Chopin's Nocturne, No. 14 in f-sharp minor, Op. 48, No. 2. This particular Nocturne I find quite enchanting. The melody of the A section is elegant and poignant. The middle section, which moves to a major key and is a choral, is a gentle contrast to the minor of the opening and closing. Chaeyoung's phrasing and touch capture the beauty of this piece.
Next is the first movement of Chopin's Sonata No. 2 in B-flat minor, Op. 35. This opening movement is tempestuous demanding your attention from the start. It moves into a major key briefly to state the second theme, but doesn't stay there for long. Moving into the development, Chopin returns to the minor key, but takes a fragment of the theme and pushes it through several key areas before bringing us back to a ray of sunshine with the return of the second theme. Park is taking us smoothly through each of these sections with power and grace.
Well, we are about to get quite the contrast. Park is presenting Dream Images (Love-Death Music) from Makrokosmos, Volume 1, Part 3, No. 11. Paraphrasing Park's comments on this piece...This work is based around the Zodiak signs and each piece represents a different sign and portrays its character. This movement is using Gemini as its inspiration. Crumb presents an original theme and then brings in the lyrical melody from Chopin's Fantasie Inpromptu contrasting the era he was working in and the era Chopin was working in.
Three movements from Stravinsky's Firebird, I. Dance Infernal; II. Berceuse; III. Finale, transcribed by Agosti, are closing Park's program. As is to be expected from knowing the orchestral version, these movements are a handful for the pianist requiring virtuosity and lyricism. Park is handling them beautifully. True confessions, Stravinsky's Firebird Suite is not a piece I love, but this piano rendition is very well-done and I am very much enjoying it. Hearing a piece performed on an instrument different from what it was originally composed for is always a fascinating thing. Not just in this instance, but in others as well, I find it gives added depth, understanding and appreciation of the piece. Chaeyoung has given us a marvelous performance of these three movements.
Hello and Welcome
Greetings to all our PianoArts 2014 Competition Followers! My name is Mary Anna Salo.
I was a semi-finalist in the 2006 competition and am your PianoArts blogger for this year's competition. Currently, I'm having to blog from iPhone as my laptop is not wanting to stay connected to the internet, so please pardon any typos. And, due to a small keypad, I may do some note-taking and post later from those notes. I am excited to be blogging for PianoArts and for you!
I was a semi-finalist in the 2006 competition and am your PianoArts blogger for this year's competition. Currently, I'm having to blog from iPhone as my laptop is not wanting to stay connected to the internet, so please pardon any typos. And, due to a small keypad, I may do some note-taking and post later from those notes. I am excited to be blogging for PianoArts and for you!
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