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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

 

 

 

 

 

Grace Park and Joseph Liccardo at Central Park West

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Grace Park playing a 1799 Nicolas Lupot violin at Central Park West

Grace Park with the 1799 Lupot violin

Grace Park and Joseph Liccardo

On Saturday November 3rd, 2018, violinist Grace Park and pianist Joseph Liccardo performed at Robin Shoemaker’s Central Park West salon.

My anticipation of this event grew when I learned that Ms. Park was playing a 1799 Nicolas Lupot violin.

Mozart: Sonata for Violin and Piano in E flat Major K. 481

The first movement contains lively dialog between violin and piano. Ms. Park and Mr. Liccardo maintained an apparently effortless coordination, allowing the Molto Allegro to flow naturally across the movement’s choppy phrasing.

In the Adagio, Ms. Park’s violin rose gracefully (sic) over the accompaniment, first as a slow dance and then to sing. In her hands this violin shone in the higher registers.

Overall, Mozart’s Sonata No. 33 was a well-balanced collaboration between two musicians who clearly loved what they were doing.

Brahms: Sonata No. 2 for Violin and Piano in A major Op. 100

This warm, entertaining work was at times expressively lyrical. At other times it was technically demanding. In fact, the Sonata was a showpiece for both musicians.

In that regard, there were moments when Joseph’s piano sounded as sweet as Grace’s exotic violin. And I enjoyed Ms. Park’s vibrant pizzicato immensely.

Neither musician wasted energy on superfluous showmanship. But I had to chuckle when Brahms got the violinist dancing around (apparently on bare feet).

Grace Park with Joe Liccardo and Robin Shoemaker

Joseph, Grace and Robin Shoemaker

Tchaikovsky: Souvenir d’un lieu cher Op. 42

Souvenir is a wonderfully Russian work and quintessential Tchaikovsky.

There are pounding rhythms reminiscent of the 3rd movement of the 6th Symphony, and soaring melodies. The performers were equally at ease with both.

And again, the collaboration between pianist and violinist was perfect.

Stravinsky: Divertimento for Violin and Piano after ‘The Fairy’s Kiss’

This work is Stravinsky’s derivation (with violinist Samuel Dushkin) from his own orchestral ballet “The Fairy’s Kiss”, which in turn was based on songs by Tchaikovsky.

That said, Divertimento is very much Stravinsky’s own unique work, with manic dance rhythms and echoes of his other compositions.

Notwithstanding that they had already been playing for an hour, Mr. Liccardo and Ms. Park engaged Stravinsky with vigor and enthusiasm. The result was a highly enjoyable and often compelling performance.

Nicolas Lupot Violin

Some refer to Lupot as the “French Stradivarius”. I didn’t know what to expect of such a unique instrument as his 1799 violin from Paris, but I noticed a particular sweetness in the upper middle register.

Later I asked Ms. Park what it is like for her to play the Lupot. She responded that the instrument is in perfect condition, very responsive to the performer, and crystal clear especially at the top end.

“It sparkles differently than a Strad”, she said. “I love it.”

Yuja Wang at Carnegie – May 2016

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Yuja Wang at Carnegie Hall May 14th 2016

Yuja Wang comes on stage at Carnegie, May 14th 2016

On May 14th, 2016  I attended Yuja Wang’s recital at Carnegie Hall, with my wife Patti. This performance was the reason I became a Carnegie subscriber a year ago: I had to have great seats, and we did.

The last time I was at Carnegie was to see Kissin (reviewed here). For him, additional seats were placed on stage to squeeze in as many spectators as possible. Not so for Yuja Wang.

Since Ms. Wang’s recital was sold out, it surprised me that she had the stage to herself. I am sure that she was happy about that, however. It can’t be easy to have the audience intruding on your personal space when you are tackling such strenuous repertoire.

Yuja Wang’s Sparkle

People will tell you that Yuja Wang’s clothing has nothing to do with how well she plays, but this reviewer acknowledges that those fabulous outfits are part of Yuja’s brand. I would have been disappointed if she did not look like a diva. I was not disappointed: she walked out on stage in one of the most beautiful gowns I have ever seen. Its color reminded me of the pale salmon that I had across the street an hour earlier at the Europa Cafe (205 W 57th St., recommended). The gown didn’t just sparkle, it flared and outshone the highlights of the black Carnegie Steinway. You can get a hint of that from my photograph.

Brahms Ballade in D Minor

The recital opened with the Brahms’ Ballade in D Minor, Op. 10 No. 1. This was impressively sonorous, and for me the best part of the scheduled repertoire.  I settled back to absorb the rest of the evening, but when she moved on to Schumann’s Kreisleriana, I could not feel it. I can’t fault Ms. Wang: I personally have never gotten much out of Schumann.

Beethoven’s Hammerklavier Sonata

After the intermission, Yuja showed up in a dramatic new gown – dark green with a saucy slit on the audience’s side, as seen in my wife’s photograph (credit Patti Turner). If you wanted skin, this was your moment. But while the dress shimmered, Yuja’s performance seemed a little off. The Adagio was haunting but the rest, to be honest, did not work for me. Perhaps she was dulled by playing the same German program again and again. Or perhaps the Hammerklavier is so complex and demanding, that it is as hard for the audience as it is for the soloist.

Yuja: I don’t know what to play!

After the end of the program I wondered which of Yuja’s legendary encores we would be treated to. I had had enough heavy repertoire, as had most everyone else. When Yuja returned to the piano for an encore, the hall was electric with anticipation. She sat at the keyboard for a few moments, then turned to the audience and said ruefully “I don’t know what to play!”

My heart went out to her. This had not been the most inspiring evening. This was partly due to the program, but in some intangible way it also came from the pianist herself. Maybe she just needed to burn some Rondo Alla Turca.

Gretchen am Spinnrade (Schubert, arr. Liszt)

From that moment on, we were treated to the gifted Yuja we love. I have never heard such a beautiful rendering of the Schubert/Liszt spinning wheel, Gretchen am Spinnrade. There are few pianists who can make me teary, but she did. Or watch it on medici.tv: a year’s subscription costs less than dinner for two in New York.

Carmen and Ronda Alla Turca

At this point it had been a long night for us and for the performer. If Yuja had called it quits, that would have been ok. But she came alive with her encores, and so did we. She gave us both Horowitz’s Carmen and the Mozart/Volodos Rondo Alla Turca. I’ve watched these many times on YouTube, but to see Yuja Wang in person, elbows stretched to both ends of the keyboard delivering these delights, was the treat of a lifetime.

Chopin’s Waltz in C sharp minor

Yuja Verbier 2010 red dress

Yuja, Verbier 2010

Ms. Wang played Chopin’s Waltz in C sharp minor, Op. 64 No. 2 as her final encore. It was beautiful, especially the last 16 bars.

Most pianists do not bring out the descending right hand notes at the end of each bar (G, G, G, F, E, D, C, D). Kissin does, but Rubenstein, Horowitz and Ashkenazy do not. As written, the pedal comes off at the end of the bar, but Yuja holds her thumb down to sustain this note through the next bar. That’s definitely not what’s written, but it makes for a luminous sound. You can see her do this in her superlative Verbier 2010 video, starting right here.

Yuja Wang at Carnegie May 2016: sublime!

We saw two pianists at this event: Yuja Wang the professional who seemed weighed down by the main course, and Yuja Wang the star who lit up for dessert. The star was the Yuja whom I went to Carnegie to see.  She brings out the inner layers of familiar pieces in a way that makes me feel I am hearing them for the first time. At her best, she is sublime.