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Han Chen plays Anton Rubinstein in NYC

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Han Chen plays Anton Rubinstein

Han Chen, November 23rd 2024

I was excited to attend pianist Han Chen’s recital at Central Park West on November 23rd, 2024, hosted by Robin Shoemaker. I had greatly enjoyed previous recitals by Mr. Chen at this venue in 2017 and 2018.

The program consisted of romantic era piano sonatas by Anton Rubinstein.  In his introduction, Han Chen explained that the concert was in preparation for his upcoming Rubinstein recording sessions for the NAXOS label.

I used to wonder why a fine pianist like Rubinstein composed such quirky music. Only when researching before the recital did I realize that Arthur Rubinstein (1887-1982) was not Anton Rubinstein (1829-1894)!

Rubinstein: Piano Sonata No. 3 in F major, Op. 41 (1855)

Han Chen’s expressive delivery left no doubt that he “got” Rubinstein. But despite Mr. Chen’s intense focus, Sonata No. 3 itself felt in need of refinement. Only in the final Allegro Vivace did I sense that the composer had potential.

Rubinstein: Piano Sonata No. 4 in A minor, Op. 100 (1877)

The first movement (moderato con moto) opened with great drama and evolved through abrupt changes of mood. My overall impression was positive, and I loved Han Chen’s closing low-end flourishes.

The second movement (allegro vivace) was laced with humor and delivered with such relish by Han Chen that it was hard not to chuckle. Certain moments reminded me of Mussorgsky’s Pictures at an Exhibition, written a few years earlier. Also of note were some transitions that sounded very much like Rachmaninoff.

The third movement (andante) opened with almost Schubertian flow, progressing through passages that could have been attributed to several composers of the era. And wait… was that a not-so-subtle echo of Chopin’s Marche Funèbre? Again I noticed motifs that were suggestive of future works by Rachmaninoff.

Han Chen

Hen Chen enjoys his audience

The final movement (allegro assai) opened with declamatory drama, progressing through ethereal moments to much pounding. This was impressive to watch but somewhat overwhelming to listen to. The final couple of minutes flirted with melody before launching into a robust, almost Liszt-ian finale.

Han Chen pulled this difficult work together with power and verve. One can only wonder what it must have been like to see Anton Rubinstein himself perform it.

Rachmaninoff – Moments Musicaux in E minor Op. 16 No. 4 (1896)

After an evening of Rubinstein works that hinted at Rachmaninoff, Han Chen’s choice of a Rachmaninoff encore was fitting and made for a satisfying close to a fascinating evening.

Han Chen with Robin Shoemaker

Han Chen and Robin Shoemaker

A few words with Han Chen

I asked Han Chen about the huge difference between the sonatas. He explained that Sonata No. 3 was written while the composer was in his 20’s, while No. 4 was written over 20 years later.

As a takeaway, Han Chen suggested that people pay more attention to less well-known composers. Just as great composers can write poor works, lesser composers can produce great works. He felt that Rubinstein’s Sonata No. 4 was such a work.

CLICK HERE to support Han Chen’s new Rubinstein CD!

 

Prizewinning Pianist Jack Gao’s Concert of Contrasts

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Jack Gao at Central Park West

Jack Gao playing on Sunday January 7th 2024

I was thrilled to see Jack Gao perform at a salon concert in New York on January 7th. The concert was a co-presentation by host Robin Shoemaker and the Center for Musical Excellence, Director Min Kwon.

Ms. Kwon enthused about how well Jack played at the 2023 Gina Bachauer Piano Competition at Juilliard, where he won First Prize. More recently, he placed first at the 2023 Naumburg International Piano Competition.

She also noted that Jack will make his Carnegie Debut on February 5th 2024.

J. S. Bach: French Suite No. 5 in G major

Jack’s opening Allemande was elegantly phrased and captivating. I also enjoyed the contrast-laden Loure, whose halting tempo was sustained by effortless ripples and spiralling vortices.

But by far my favorite part of the Suite was Jack’s sublimely spiritual Sarabande, which at times hinted at Bach’s Goldberg Aria.

Beethoven: Piano Sonata No. 27 in E minor, Op. 90

I wasn’t sure what to make of this unusual sonata. The first movement was both pleasant and disturbing, light and dark, beautiful and dreadful. And yet there was always a sense that yin and yang would eventually resolve.

I liked how Mr. Gao evoked these contrasting moods. I liked when he unleashed Beethoven’s anguish and then let it fade. And I loved how he created those ethereal pianissimos. But I need to listen to this work again in order to grasp it better.

Liszt: Transcendental Étude No. 5, “Feux Follets”

After Beethoven’s relatively gloomy sonata, Liszt’s brash Etude allowed the pianist to have some much-needed fun. Jack’s delivery was a crowd-pleaser, entertaining and virtuosic.

Bartok: Piano Sonata

This Bartok was not an easy listen for me. While at times it was boisterously festive, at other times it felt like biting on eggshell in your omelet. This was no fault of the pianist, who played with power and conviction.

Min Kwon and Jack Gao play Brahms

Min Kwon and Jack Gao play Brahms

Brahms: Hungarian Dances No. 1 and No. 4 for four hands

For the first Brahms dance, Jack played Secondo (left side), powering Brahms’ lush, romantic main theme.  Ms. Kwon took Primo, sprinkling the room with upper register twinkles.

For the second dance, the pianists switched roles.  I found myself laughing as Jack played mischievous seconds. It was a spirited, entertaining performance.

Gao, Lowenthal and Kwon play 6 hands

Gao, Lowenthal, Kwon

Surprises

Wrapping up the evening, Min Kwon introduced two distinguished members of the audience: pianist Ursula Oppens and pianist Jerome Lowenthal.

Mr Lowenthal joined Ms. Kwon and Mr. Gao to play Rachmaninoff’s Romance for 6 hands, a beautiful work that felt all the more special because it was being performed by pianists from 3 generations.

Unfortunately it also meant that this fascinating concert of contrasts was coming to a close.

Postscript

After the recital I spent a few minutes with Jack Gao. When I asked him how he felt about his Beethoven sonata, he lit up with enthusiasm and started explaining its construction. Jack is a versatile musician who clearly loves what he is doing, and his future looks bright.

Robin Shoemaker, Jack Gao and Min Kwon

Host Robin with Jack Gao and Min Kwon

 

 

 

 

 

Pianist Lisa Yui at Yamaha Artist Services NYC 2023

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Lisa Yui

Lisa Yui at Yamaha Artist Services

Lisa Yui at Yamaha Artist Services NYC

I first met Dr. Lisa Yui  two years ago at her Juilliard Evening Division Piano Class. If you’ve ever worked with Dr. Yui, you will understand why I then signed up for two more of  her classes. She is a captivating educator with a wry sense of humor and seemingly limitless energy.

There are many videos of Ms. Yui’s piano performances. However her September 14th 2023 concert at Yamaha Artist Services was the first time that I would get to see her give an in-person recital. It was also my first visit to Yamaha’s NYC Salon.

Yamaha Artist Services

NYC Yamaha Artist Services entrance

Yamaha Artist Services entrance

The Yamaha Artist Services Salon is on the 3rd floor at 589 5th Avenue, but you can’t get in from 5th Ave. The unmarked entrance is round the corner on 54th Street. There, the doorman scanned me in using the QR code that Yamaha had emailed me.

The Salon is modern and tasteful. Superbly designed lighting showcases the performance area without undermining the intimate feel of the venue. A Yamaha grand piano owner myself, I was in awe of the immaculate CFX concert grand that Lisa Yui would play.

The Performance

It is not my intent here to go into detail of the program repertoire, listed below. It was no surprise that before each work, Ms. Yui would turn to the audience and discuss it in some detail. I particularly appreciated her introduction to those works that were new to me, such as the Dussek. Even when performing she continues to educate, salting her commentary with splashes of humor.

The Encore

Ms. Yui challenged us to identify her encore. I was both enchanted by the work, and baffled as to who might have written it. Were there hints of impressionism, perhaps? Pianist Michael Kaykov enlightened me afterwards: it was Liszt’s Elegy No. 2 S. 197.

Closing Thoughts

As I write this two days later, I am still somewhat stunned from Lisa Yui’s recital. As a performer she has a strong stage presence and intensely controlled delivery. As her would-be reviewer, I was too mesmerized by her performance to take any notes.

If I were to choose one moment that encapsulated Ms. Yui’s persona, it was when she described just how difficult the Qigang Chen was. She then turned to the piano with a devilish grin, and ripped into it with gusto.