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.