Private Concerts Archives - Page 2 of 10

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

Janice Carissa Wows Central Park West

Sunday, February 26th, 2023 by Ken Turner

Janice Carissa at Central Park West

Janice Carissa

Indonesian pianist Janice Carissa has an impressive history and is currently pursuing a Master’s Degree at Juilliard. So I was really excited to attend her New York recital on Saturday Feb. 25th, 2023.

Granados: Allegro de Concierto

Janice radiated competence from the opening flourish of this lush, flowing showpiece. She was equally at home in Granados‘ fast arpeggios and his more reflective moments. Her strong bass punctuation stitched the work together perfectly.

Granados: The Maiden and the Nightingale (Goyescas)

Janice played this sweetly romantic morsel with restraint and sensitivity. Her twinkly nightingale, appearing near the end, was suitably forlorn. If the melody in this work sounded oddly familiar, it is because it inspired the popular song Bésame Mucho by Consuelo Velázquez.

Janice Carissa playing Liszt

Granados: The Puppet “El Pelele” (Goyescas)

This cheery work was entertaining and showy. Watching Janice play, I was struck by how strong her hands were, and how assured she was at the keyboard. There might have been a minor slip here or there, nonetheless it was thrilling to watch.

Liszt: Rhapsodie Espagnole

Janice Clarissa tackled this extremely demanding work with comfort and panache. Her performance was for the most part sizzlingly clear and well-articulated. If it started sounding clangorous at the end, that’s because of Franz Liszt!

Jaya Suprana: Fragmen

Inspired by Balinese dance, this work impressed me tremendously. As explained to me, it is composed in a pentatonic melancholic tone. This is why it sounds “different” to my Western ear, and part of what makes it so beautiful.

The most representative version I could find on the Internet was played by Janice Carissa herself a decade ago.

Janice Carissa with host Robin

Perspective

Janice Carissa is a confident, engaging pianist. Her choice of repertoire for this concert was rooted in childhood memories of Granados’ music, making for a delightful Spanish-themed evening.

But by the time Liszt came around, I was in the mood for something less showy and more reflective. What else was this remarkable young pianist capable of? How will she evolve?

I discussed this with Janice, who told me that her goal as a performer is to spread the joy of music. She succeeded in doing just that at Central Park West. Judging by her audience’s response, she is well-positioned to be successful in this ultra-competitive field.

[Thank you Aryo Wicaksono for your insights into Fragmen]

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