ROVING PIANIST

Ken Turner's blog about everything piano

You are here: Home / Archives for Concerts / Private Concerts

Pianist Suejin Jung at Central Park West

by Leave a Comment

Suejin Jung at Central Park West 2/15/2010

Suejin Jung, 2/15/2020 at Central Park West

Suejin Jung and Gustavo Miranda-Bernales

Pianist Suejin Jung brought a guest pianist to her February 15th recital at the Shoemaker Salon at Central Park West.  Chilean pianist Gustavo Miranda-Bernales and Suejin took turns at the piano, ending with a four-handed duet.

Curtis Curtis-Smith: Etude No. 9

Gustavo Miranda-Bernales opened the recital with Curtis Curtis-Smith’s Etude #9 “for the Independent Rubato of the Right Hand”. A millenial work published in the year 2000, it quickly revealed its own unique and pleasant harmonic spatter. There were also hints of jazz and new age piano.

Debussy: Feux d’Artifice

Gustavo Miranda-Bernales

Gustavo Miranda-Bernales plays Debussy

Debussy’s Feux d’Artifice (“fireworks”) is a swirling, percussive drama. Mr. Miranda-Bernales gave a clear, jagged rendition, climaxing with a gut-punch from the bottom A of the Shoemaker Steinway, followed by a searing glissando and then fading away over a distant thunder of rolling bass.

Published in 1913, the work now appears to herald the opening salvos of the First World War.

Debussy: Étude 7 pour les degrés chromatiques

Suejin Jung played this challenging étude with ease. Musically, it felt somewhat harsh and unrewarding, but as a technical exercise it was impressive.

Debussy: Préludes, Book 1

Suejin Jung played the following well-known preludes from Book 1. I particularly appreciated the first, Les sons et les parfums. Apropos of nothing, Les sons ends with the same bottom A that I mentioned in Mr. Bernales’ Feux d’Artifice.

Franz Schubert: Fantasie in C major Op. 15 “Wanderer”

Schubert’s restless, charming Fantasie contains hints of the darker edge of his later sonatas. But even in Gustavo Miranda-Bernales’ commanding hands, it could not rise to the level of e.g. the great D 960 sonata in B flat Major.

Nevertheless, MIranda-Bernales’ compelling execution of this difficult work earned him raucus applause.

Frédéric Chopin: Sonata No. 3 in B minor

Robin Shoemaker, Gustavo Morales and Suejin Jung

Robin, Gustavo and Suejin

Chopin’s Piano Sonata No. 3 in B minor Op. 58 is like a tray of jewels spread in front of the listener. How can one describe such glittering beauty and magical craft?

I was struck by how balanced Suejin Jung’s presentation was. Each movement and every section felt not too hot and not too cold, but just right. Her Largo was exquisitely paced and luminous, Chopin at his most sublime.

And even the galloping Presto, which opens with weighty romanticism reminiscent of Schubert, was reined back sufficiently by Suejin that it morphed from manic to majestic.

For this reviewer, Suejin Jung’s Chopin was the highlight of the evening. It was still playing in my head on the long ride home.

Encore: Fauré Le Pas Espagnol

Le Pas Espagnol is the last section of Faure’s Dolly Suite for four-hand piano. For this rousing Spanish dance, the pianists sat together with Gustavo playing the primo (upper) part. It was a delightful way to close the evening, leaving everyone with a smile on their face.

Gloriosa Trio Recital at Central Park West

by Leave a Comment

Gloriosa Trio with Karen LeFrak and the Gloriosa Trio CD

Gloriosa Trio with Karen LeFrak and the Gloriosa Trio CD

On Tuesday October 15th, 2019, the Gloriosa Trio performed at Robin Shoemaker’s Central Park West salon.

The Trio comprises pianist Yoonie Han, violinist Eric Silberger and cellist Kevin Bate. They recently released their first CD (Centaur Records).

The program consisted of various items by Gabriel Fauré including 3 of Gloriosa Trio’s own arrangements. It also included a work by New York composer Karen LeFrak, who was present at the concert.

Fauré: Sicilienne Op. 78

Cellist Kevin Bate

Kevin Bate in action

This piece was originally written for piano and cello. It was later orchestrated by the composer and became part of his Pelléas et Mélisande suite. Various other arrangements exist, including one by Gloriosa Trio.

The Trio played their own cello-forward arrangement. Piano and violin weaved a poignant atmosphere around Kevin Bate’s strong but tender cello. In this arrangement the violin picked up some phrases that the piano carries in the original, adding a touch more color and sweetness.

LeFrak: Gloriosa

Composer Karen LeFrak with the Trio after they performed Gloriosa

When musicians play your work: Karen LeFrak with Gloriosa Trio

Karen LeFrak’s Gloriosa premiered in 2015. It shares some of the wistful atmosphere of Fauré’s century-old music, making for a good program fit.

The work itself was evocative and at times playful, worthy of further listening.

The composer and musicians embraced after playing her composition.

Fauré: Pavane, Op 50

Fauré’s Pavane seemed tailor-made for Gloriosa Trio. It is sad but not tragic. It is also exquisitely French, beautiful to the edge of sentimentality.

At first the pizzicato-like piano accompaniment felt a little strong. But I came to realize that those staccato arpeggios were the heartbeat of this delightful oeuvre. They bring tension and motion to this otherwise soft and gentle work.

Fauré: Trois mélodies Op. 7 No. 1 “Après un Rêve”

This is a short and beautiful song, arranged by Gloriosa Trio for their instruments. For comparison, here is a link to the vocal version as sung by New Zealand fully lyric soprano Kiri Te Kanawa.

Fauré: Piano Trio Op. 120

The Piano Trio was the only Fauré composition of the evening that the Gloriosa Trio had not themselves arranged. It is a late work, completed in 1923.

Compared with the music played earlier, the Piano Trio was relatively ascetic. This reviewer found it to be pleasant but a little diffuse. It is evidently a composition that requires repeat listening.

Gloriosa Trio

Gloriosa Trio is an excellent piano trio, despite their relatively infrequent collaborations. Their concert at the Shoemaker Salon was delectable, and Fauré’s music seemed tailor-made for them. Their arrangements were clean and true to the original, to the point that they could have been written by composer himself.

We have seen pianist Yoonie Han at the Shoemaker salon before, see this review.

Kevin Bate, Yoonie Han, Robin Shoemaker, Eric Silberger 10/15/2019

Violinist Magdalena Filipczak at the Anthoine Penthouse

by Leave a Comment

Magdalena Filipczak solo

On May 19th, 2019, violinist Magdalena Filipczak and pianist Jessica Xylina Osborne gave a recital at the Anthoine Penthouse in New York City. The program was an eclectic collection of 19th to mid-20th century works, with a sizeable Polish component.

Here are the works that were played.

Bacewicz: Polish Caprice for solo violin

This work was written by the Polish composer Grazyna Bacewicz, at one time a student of Nadia Boulanger. You can hear Grazyna herself play it. It is a brief, entertaining piece that opens in a reflective mood. It transitions to a fast dance, replete with challenges for the violinist.

Britten: Reveille

Magdalena’s interest in the music of Benjamin Britten dates back to years she spent in London, U.K. She likened this work to the violinist yawning as he gradually wakes up. Magdalena’s yawn was a muted portamento that repeats and evolves as the work progresses. Later we hear hints of a military trumpet. The work closes with sudden dissonance and a flourish. The reason for this was unclear to me. Did the violinist fall out of bed?

Wienawski: Polonaise in D major, Op. 4

Available on YouTube as Wieniawski Polonaise in D Major.

Magdalena Filipczak and Jessica Xylena Osborne

Previn: Song from Tango, Song and Dance

Magdalena played this sad, delicate work with grace. You can see Anne-Sophie Mutter play it at THE RECORDING OF TANGO, SONG AND DANCE.

Piazzola: Bordel from The History of Tango

I like Piazzola, but in this work the composer had pianist Jessica tapping rhythmically on the piano, which broke the spell.

Ravel: Blues (Violin Sonata No. 2, second movement)

This work was difficult to absorb on first hearing. There are echoes of Ravel’s Left Hand Piano Concerto mid-way through, but I did not feel that Blues was of comparable stature.

Szymanowski: Peasant Dance from Harnasie

Available on YouTube as Szymanowski Danse Paysanne from Harnasie (Filipczak)

Karlowicz: Selected songs, Op. 1

Ms. Filipczak is also a singer! She sang two short songs by Mieczyslaw Karlowicz, a composer whose short life crossed from the 19th to the 20th century. This delightful romantic fare was given life by Ms. Filipczak’s luxurious vibrato and closed on a perfect high note.

Debussy: Violin Sonata

This esoteric violin sonata was the composer’s last work. It’s not easy to follow, but Ms. Filipczak played it with conviction. It is available on YouTube as Claude Debussy Sonate No.3 Live Recording (Esther Abrami).

Wienawski: Fantasia on themes from Gounod’s Faust, Op. 20

This was my favorite work of the evening. At times sounding like a cross between Schubert and Chopin, it is a bright, approachable work. The interplay between Magdalena’s violin and Jessica’s piano was delightful.

Jessica, host Rita, and Magdalena

Closing thoughts

The intimate performance space at the Anthoine Penthouse gave the audience a larger-than-life experience. In a modest-sized room, a violin has power and resonance that amplifies the emotional texture of a work.

My lasting impression of Ms. Filipczak’s performance is one of clarity, consistency and beauty.  I enjoyed almost everything that she played, and was impressed by what seemed to be effortless coordination between violin and piano.

On Wednesday, May 5th 2019 at 7:30 pm at The Kosciuszko Foundation in New York, you can see Magdalena and Jessica play this program. See Inspired by Song and Dance – A recital by Magdalena Filipczak, violin and Jessica Xylina Osborne, piano.