Bach Archives - ROVING PIANIST

Kissin Conquers Carnegie Hall May 2023

Thursday, May 4th, 2023 by Ken Leave a Comment

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.

Pianist Tiffany Poon in Rhode Island

Wednesday, April 24th, 2019 by Ken Leave a Comment

Tiffany Poon at her Core Memory recital Rhode Island 2019

Tiffany Poon is one of the first classical pianists to vlog about her life as a pianist.

She is an engaging communicator and works hard to expand her following; see my article Pianist Tiffany Poon meets Fans in NYC.

The resulting fan engagement has accelerated Tiffany’s social media presence to critical mass, bringing her invitations to perform around the world. With almost 110k YouTube followers at the time of writing, Tiffany’s concerts have sold out in places as diverse as Singapore and Brazil.

Given her popularity, I was lucky to get a seat at Tiffany’s very first house concert on April 20th 2019, hosted by Craig Maynard’s Core Memory venture in Rhode Island. Although 180 miles from my home, this was nothing compared with the distance some people traveled for this concert.

OMG it’s Tiffany!

When Tiffany walked through the audience to the piano, everyone went a little crazy. She was exactly the same in person as in her vlogs, except that instead of her usual low-key attire, she wore a dazzling scarlet outfit and golden heels. I felt like we were watching the birth of a star.

Bach: French Suite No. 5, BWV 816

Tiffany Poon at Core Memory Rhode Island

Tiffany in action

Tiffany’s Bach was a sublime ice-breaker, sweetly colored by subtle, sometimes rapid pedal. Her voicing was fluid, using finely controlled dynamics to weave the left hand to the front and back of the sound stage. I’ve heard crisper baroque ornamentation, but I prefer Tiffany’s warmer, less clinical interpretation.

Haydn: Keyboard Sonata in E Flat Major, Hob. XVI:52

This work (Haydn’s last) is a kaleidoscope of contrasts which gave Tiffany lots to work with. She brought out the essence of this spirited, alternately grand and cheeky work, earning rousing applause from her audience.

Chopin: Barcarolle in F Sharp Major, Op 60

Tiffany played this work at the 2015 Chopin Competition in Warsaw. Her Rhode Island performance in 2019 was identical in pace, with a little more sparkle and less angst. Taking into account different venues, pianos, and recording equipment, these performances were comparable. Tiffany knows how she wants to play the Barcarolle and is remarkably consistent in her delivery.

Chopin: Nocturne in C minor Op. 48, No. 1

Few pianists are able to evoke the full darkness of the C minor Nocturne. In Rhode Island, Tiffany brought gloom to the forefront with her deep left hand in the opening. However some elongated phrasing as the work shifted from minor to major blunted the edge of this work. For me there was a bit too much piu lento, making for more sweetness than called for. But these are personal preferences and do not detract from Tiffany’s sumptuous performance. Hers was a nuanced interpretation, where raw grief is offset by (to coin a phrase) natural beauty.

Chopin: Nocturne in E minor Op. 72, No. 1

The E minor Nocturne is overshadowed by Chopin’s better-known works. But on this rainy Rhode Island evening, Tiffany Poon gave a stunning performance of this melancholy work that had those exquisite dissonances tugging at the soul. She was uncharacteristically restrained in her gestures, allowing the music to work on us without distraction from the performer. At the end her right arm crossed her left to play the final note, a period at the end of a very profound statement by this remarkable young pianist.

Chopin: Ballade No. 4 in F minor Op. 52

This beloved work was a good choice to close Tiffany’s concert. Not as dolorous as the preceding Nocturne, it is more challenging and complex. For Ms. Poon here was an opportunity to show once again the range of her talent. As we watched, the music seemed to take over the pianist, shaking head her like a rag doll. In slower segments her arms floated above the keyboard like those of a ballerina. This was a totally immersed performance by Tiffany that must have used every muscle in her body.

Encores: Liszt, Schumann

Tiffany played two encores. The first needs no introduction, she said (Liszt: Liebestraum no. 3). My neighbor tapped me on the shoulder to find out what it was. The second (Schumann: Träumerei) was by her favorite composer, she hinted. This reviewer recognized it instantly, but had to browse YouTube to find its name!

This is a common disconnect between artist and audience. There will always be someone who needs to be told. At a home concert we can ask, but at a major venue such as Carnegie some folk may leave not knowing what you played! Keep this in mind during your many future encores, Tiffany!

Tiffany Poon chatting with her audience

Closing Thoughts

This was Tiffany’s first house concert, and she was entertainingly and characteristically frank about not knowing protocols for taking bows and going offstage. After the performance, she sat at the piano and chatted with us for a lengthy period, taking questions and making no effort to bring things to a close.

This generosity of spirit will serve Tiffany well, although it may be harder to maintain once she is touring as a world class concert pianist. After this evening in Rhode Island, I have no doubt that she is capable of achieving this dream.

I was impressed by the Core Memory venue, an airy performance space with excellent lighting and good acoustics. Our host Craig Maynard did a great job setting this up. Events are open to the public but have limited seating, so sign up early!

Pianist Cong Bi’s Carnegie Debut

Saturday, April 13th, 2019 by Ken Leave a Comment

Cong Bi’s Carnegie Hall Debut

On April 12th 2019, Chinese pianist Cong Bi strolled on stage in Carnegie’s Zankel Hall for his Carnegie debut.

Relaxed and confident, he looked dashing in patent leather shoes, blue jacket and grey-ish pants.

A tall man with shoulder-length hair, Cong Bi stood with his hand over his heart for a few moments, prompting shrieks from the audience.

The last male pianist whom I saw have this effect at Carnegie was Korean superstar Seon Jin Cho.

Beethoven: Sonata No. 23 Op 57 (Appassionata)

This work was a bold opening gambit for Cong Bi’s Carnegie debut. He engaged the allegro assai with the conviction that we expect from a seasoned performer. However his arpeggios seemed rushed. That which should have glittered was too often blurry.

If Cong Bi overreached during the first movement, he made amends with his authentic andante con moto. This reviewer appreciated the left hand voicing in particular.

Schumann: Davidsbündlertänze, Op 6

Cong Bi Carnegie Debut April 2019 Sold Out

Cong Bi – SOLD OUT!

Cong Bi’s rendition of this work was generally balanced and sweet, occasionally flamboyant. Since the works of Schumann mostly leave this reviewer unmoved, it would not be fair to the performer to comment further.

Mussorgsky: Pictures at an Exhibition

Cong Bi’s Pictures started cautiously and swelled into magnificence. This work can so easily become ponderous, but Cong Bi is not that kind of pianist. I appreciated his engaged, powerful delivery and excellent sense of timing.

However, we could have done without Cong Bi’s abrupt “pointing backwards” arm gestures! These attempts at pianistic drama did not work because they felt inauthentic. For this reviewer, only Lang Lang can get away with such gratuitous posturing.

Cong Bi jokes with his Carnegie audience April 12, 2019

Encores: Bach

The first encore was a pleasant Bach work that nobody I spoke to could identify.

The second encore was Bach’s Prelude in C Major, BWV 846. Cong Bi played this deceptively simple work with divine translucence.

I’ve commented before on how pianists’ encore choices can be revealing. At the end of the day, Cong Bi did not go for a showpiece. Instead, he went for the sublime.

After the closing bars of Bach, the pianist played a very short jazzy riff. I took this as a youthful gesture of victory: “I got this”! But maybe it was just for the young women who gave him flowers.

Closing thoughts

Cong Bi is an impressively self-assured and promising young pianist, at ease on stage and able to joust with his audience. In his Carnegie debut he showed himself to be equally at home with Beethoven’s raging Appassionata, Mussorgsky’s monumental Pictures, and Bach at his most ethereal. Watching him reminded me of the Washington Post article The Future of Classical Music is Chinese.

Cong Bi got better and better as the evening went on, but after the intermission I noticed a few empty seats. If only these people had stayed, they would have been rewarded with a stirring performance of Mussorgsky and some magical Bach. And of course, that cheeky riff!

My personal thanks to producer Qianci Liu for inviting me to this most enjoyable recital, and to the Paulus Hook Music Foundation for making it possible.