Concerts Archives - Page 2 of 17

Han Chen plays Anton Rubinstein in NYC

Monday, November 25th, 2024 by Ken Turner

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.

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 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

Wednesday, January 10th, 2024 by Ken Turner

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

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, 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.

Host Robin with Jack Gao and Min Kwon

Kissin Conquers Carnegie Hall May 2023

Thursday, May 4th, 2023 by Ken Turner

Evgeny Kissin, Carnegie Hall, May 2023

I’ve always liked pianist Evgeny Kissin, but sometimes I feel ambivalent about his interpretations. See my reviews of his Carnegie Hall appearances in May 2018 and November 2015 for more on this.

But Kissin’s May 2nd, 2023 Carnegie Hall piano recital was a “must see” for Roving Pianist (RP), because of its program. Many others must have felt the same: Carnegie’s main auditorium was packed to the back of the balcony and there were also audience seated on stage.

Bach: Chromatic Fantasia and Fugue in D minor, BWV 903

I first heard Bach’s sublime Chromatic Fantasia at Lisa Yui‘s inspiring Juilliard evening class Keyboard Literature in Concert Baroque & Classical. I couldn’t wait to hear what Mr. Kissin would make of this delightful work.

Kissin was impeccably tailored and bowed long, with dignity befitting a great man. His Bach was also perfectly presented, punctuated by emphatic head-nodding and underpinned by intense concentration.

The fugue’s simple ascending theme transported us in a DNA-like three-dimensional musical helix, closing with a short cadence. My companion had one word for Kissin’s fugue: “perfect”.

Everyone wants a selfie with RP

Mozart: Sonata in D Major, K. 311

From the chirpy opening, through the generally lyrical slow movement and into the dancing close, Kissin’s Mozart was light and benign. Sandwiched between Bach and Chopin, it was in place chronologically. However, it felt out of place emotionally.

Chopin: Polonaise in F-sharp Minor, Op. 44

In contrast, Kissin’s F sharp minor Polonaise Op. 44 was dark and stunning. His two-handed keyboard runs were so fierce and flawless that they felt like an oceanic roar. It was a breathtaking display of Kissin at his most magnificent.

Rachmaninoff: Selected Piano Pieces

Rachmaninoff occupied the entire second half of the recital. The scheduled works included Lilacs, a couple of Preludes, and five Études-Tableaux from Opus 39. Kissin’s Études-Tableaux were satisfyingly Russian, played with appropriate force and angst. I would highlight two of them.

I love Étude-Tableau Op. 39 No. 2 in A Minor, but Kissin’s was missing something. Those pedal-like bass notes were just too pale. What was he thinking? Let us hear those low A’s, Evgeny! I have to stay with Denis Matsuev for this one.

Étude-Tableau Op. 39 No. 9 in D major was probably the best of the scheduled Rachmaninov. This driven work had it all, from cinematic sweeps, twinkling ascending thirds, dramatic modulations, cacophonous clatter and stomping boots! We wanted Russian pianism, we got it, we applauded deliriously.

Kissin announces an encore, Carnegie 2023

Rachmaninoff: Prelude in C-sharp Minor Op. 3 No. 2

For encores, Kissin went all-Rachmaninoff. We cheered him on in the afterglow of his Études-Tableaux. But in truth the first two encores were small cheese.

Not so the last encore! As Kissin played the opening chords of the emblematic Prelude Op. 3 No. 2 n C-sharp Minor, we drowned him in our delight and clapped like crazy folk. We cheered for 19-yr-old Sergei Rachmaninoff who wrote it. We cheered for Evgeny Kissin in his prime. And we cheered because we knew from this choice that it was the last thing Kissin would play that evening.

Everyone loves this Prelude, pretty much. Sometimes we turn our noses up at it because it is so popular, or so melodramatic, or whatever. But under Kissin’s hands on May 2nd, 2023, it was remarkable. Mr. Kissin restrained his closing pace to the edge, and it worked. It was the most satisfying performance of this work that I have ever heard.

I have no audio from this concert, but I did find Kissin playing this encore in a March 2023 video.

RP waiting for Kissin

Final Thoughts

Notwithstanding Rachmaninoff’s Opus 39 No. 2, Roving Pianist nominates Evgeny Kissin as World’s Greatest Living Pianist. His Bach was exquisite, his Chopin Polonaise a revelation, and his Rachmaninoff Op. 3 No. 2 was everything we wanted it to be.

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