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You are here: Home / Archives for Debussy

Viola and Piano Duo Matthew and Zhenni Li Cohen

Sunday, April 24th, 2022 by Ken Turner

Matthew and Zhenni 4/23/2022

Matthew Cohen and Zhenni Li-Cohen

It has been several years since I saw pianist Zhenni Li perform. Back then she partnered with violist Matthew Cohen. In New York on April 23rd 2022 she did so again, this time as Zhenni Li-Cohen.

The evening’s concert was a hybrid. In the first half the duo played together, with Ms. Li-Cohen providing piano support for Mr. Cohen’s viola. In the second half, Ms. Li-Cohen went solo.

Viola and Piano

The viola repertoire by Clarke, Tchaikovsky and Brahms encompassed the latter decades of the Romantic period. Played in reverse chronological order, we went from the early 20th century to the heart of the 19th.

I found myself mesmerized by these works. There was a period feel that transcended differences between the composers. At times it felt as if one composer could have written them all.

Was this simply a well-chosen late romantic program, or a perfect musical collaboration? Perhaps it was the grace of Mr. Cohen’s viola, or the distinctive color of the accompaniment? However you explain it, the whole felt larger than the sum of the parts.

Matthew Cohen NYC 4-23-2022

Matthew Cohen in action

Rebecca Clarke: Morpheus

Rebecca Clarke was an English composer. Morpheus opens with a distinctly English viola melody over a subdued accompaniment laced with soft glissandos. Think of Ralph Vaughan Williams with an impressionist overlay.

Mr. Cohen’s ethereal execution was ably supported by Zhenni’s atypically low-key accompaniment. My thanks to these musicians for introducing us to this delightful gem.

Tchaikovsky: paraphrase on Eugene Onegin

In musical terms, a paraphrase falls somewhere between an arrangement and a rework. What we heard was not what Tchaikovsky wrote, and yet it was Tchaikovsky. I am uncertain who arranged it.

Brahms: Sonata No. 1 in E minor for cello and piano

Arranged for viola and piano by Mr. Cohen, this was a pleasant and mellow experience. For me, it was overshadowed by the previous works.  Programmatically, it was a well-chosen lead-in to the Bach/Busoni that followed.

Piano Solo

In the first half of this concert, Ms. Li-Cohen’s role was that of a supporting pianist. In the second half, freed of the confines of collaboration, we experienced her at her most vivid. I will focus primarily on her Bach/Busoni, the peak of the evening.

Zhenni Li-Cohen 4/23/2022

Zhenni Li-Cohen getting into it

Bach/Busoni Chaconne in D minor

Ferruccio Busoni‘s arrangement of Bach’s violin partita is a colossal masterwork. I personally prefer more restrained interpretations to those that are overtly virtuoso. And indeed, Zhenni’s opening was well-paced and satisfyingly stately.

Later there were a couple of glitches, but she fought through and stayed in command. Toward the finish some fast passages were hurried, arguably appropriate to such a passionate delivery.

Overall I greatly enjoyed Ms. Li-Cohen’s performance, which I perceived to have an unusually romantic spin. Partly this was because she used a lot of pedal. But later when reviewing the audio, I found that my perception had also been colored by the pianist’s highly expressive body language.

One rarely sees this arrangement played with so much visual bravura. Look at the example in my photograph of Zhenni at the piano. At first this seemed sacrilegious. I mean this was BACH, so why was the pianist throwing herself around like a rag doll? But in fact the best pianists use every tool at their disposal, and that’s exactly what she was doing.

Robin, Matthew and Zhenni 4-23-2022

Host Robin with the performers

Debussy: Preludes 1-5, Book 1

These Debussy preludes felt like a Monet painting. I loved how Ms. Li-Cohen managed the balance between low and high registers to create depth and serenity. Of everything Zhenni played for us, this was her most impressive accomplishment.

Stravinsky/Agosti: Danse Infernal du roi Kastchei (Firebird)

Informatively introduced by Ms. Li-Cohen, this was a short and entertaining conclusion. After Debussy, it felt like a pre-programmed encore.

Closing thoughts

Zhenni and Matthew overcame similar challenges from their sheet music “tech”. I was impressed to see Zhenni’s left hand keep playing while her right swiped repeatedly at a recalcitrant page on her tablet. And I was impressed to see Matthew kick his malfunctioning bluetooth pedal away and play perfectly without it.

From their well-designed program to their resilience under pressure, the Cohen viola and piano duo gave us a wonderful evening.  We were privileged to spend time with these truly professional musicians.

 

Filed Under: Concerts, Private Concerts Tagged With: Bach-Busoni, Chaconne, Debussy, Matthew Cohen, Morpheus, piano, Rebecca Clarke, Robin Shoemaker, Stravinsky, viola, Zhenni Li, ZHenni Li-Cohen

Pianist Yun Janice Lu in Rhode Island

Wednesday, January 8th, 2020 by Ken Turner

Yun Janice Lu, portrait by Craig Maynard

Yun Janice Lu, by Craig Maynard

Yun Janice Lu

On January 4th, 2020, I visited Craig Maynard’s Core Memory venue in South Kingston, Rhode Island for a recital by pianist Yun Janice Lu.

Born in Taiwan, Ms. Lu is currently a postgraduate music student at Yale University. I had never seen her play, but Core Memory hosts excellent artists so I had high expectations.

Shortly before the recital began, I noticed a young woman sitting nearby, reading sheet music on an iPad. It took me a few moments to recognize our soloist, sitting with her audience while preparing.

Beethoven: Piano Sonata No. 24 in F Sharp Major Op. 78

Yun Janice Lu opened with Beethoven’s Piano Sonata No. 24 Op. 78, one of his shortest. (Sir Andras Schiff gave an excellent lecture about this work.)

She played an abbreviated version of the first movement, so the entire sonata lasted less than 8 minutes. It was a good introduction to Ms. Lu’s low-key, immersive approach. From the serene opening of the Adagio to the flirty call-response phrasing of the Allegro vivace, her Beethoven was fluid and convincing.

Janice plays Prokofiev

Yun Janice Lu playing Prokofiev

Prokofiev: Piano Sonata No. 7 in B Flat Major Op. 83

The jagged dissonance of Prokofiev’s Sonata No. 7 was in striking contrast to Beethoven’s harmonious sonata, taking us across time from the Napoleonic wars to World War 2.

Ms. Lu appeared to relish Prokofiev’s edgy rhythms, at times rising from the bench with her hair flying. It was a striking performance that mesmerized the audience. Afterwards, someone commented that her fingers must be glowing.

Despite the virtuosity that Prokofiev demands, Janice most impressed me in the opening of the second movement. Here, Prokofiev sets aside his personal idiom and borrows a progression from Schumann’s “Wehmut”, composed a century earlier. This was rendered with haunting beauty by Ms. Lu, as you can hear in the following audio snippet.

https://www.rovingpianist.com/wp-content/uploads/2020/01/Janice-Prokofiev-1.mp3

 

Schumann: Kreisleriana Op. 16

Janice Lu at Core Memory January 2020

Yun Janice Lu at Core Memory, Rhode Island

There was a lot to like in Yun Janice Lu’s Kreisleriana. My favorite part was the second movement (“Sehr innig und nicht zu rasch”), which contains one of Schumann’s most beautiful melodies.

Here Ms. Lu’s graceful phrasing and artful pedal painted Schumann’s intertwining voices on a rapturous canvas of harmonics that seemed to rise over us.

Encore: Ravel Jeux d’Eau

Watching Ms. Lu’s nimble performance of Ravel’s melodious work, it seemed that she really liked it. At least once, a hint of a smile crossed her face. And a couple of times Ravel really got her bicycling (see Closing Thoughts).

Encore: Debussy Etude No. 11

New to me, Debussy’s Etude No. 11 was full of `sound-alike moments reflecting rhythms and harmonies from his other compositions. Like the preceding Ravel, Ms. Lu seemed to have a special affinity for this work and gave an evocative performance, full of impressionist sparkle.

Closing Thoughts

I greatly enjoyed our time with Yun Janice Lu. Sociable and at ease in the spotlight, she is not the kind of pianist to swagger at the keyboard or cue her audience on what to feel. Her performance had an unforced, natural flow, and she had a way of making everything look easy.

The only expressive flair that I noticed from Janice was her “bicycle”, which seemed to come out mostly during musical peaks. You can see it in the following snippet from her Beethoven.

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Filed Under: Concerts, Public concerts Tagged With: Beethoven, Core Memory, Craig Maynard, Debussy, Janice Lu, Kreisleriana, Peacedale, piano, Prokofiev, Ravel, Rhode Island, Schumann, Yale University, Yun Janice Lu

Violinist Magdalena Filipczak at the Anthoine Penthouse

Tuesday, June 4th, 2019 by Ken Turner

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.

 

Filed Under: Concerts, Private Concerts Tagged With: Anthoine Penthouse, Debussy, Grazyna Bacewicz, Jessica Xylina Osborne, Karlowicz, Kosciuszko Foundation, Magdalena Filipczak, piazzola, Szymanowski, Wienawski

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©2025 Ken Turner | Roving Pianist

 

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