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You are here: Home / Archives for Gershwin

Hollywood Romance by pianist Yoonie Han

Monday, December 21st, 2020 by Ken Leave a Comment

Hollywood Romance

Hollywood Romance (Universal Music)

Yoonie Han’s new album

Pianist Yoonie Han (yooniehan.com) is an award-winning concert pianist, currently living in Hong Kong. She first caught my attention at a piano recital in New York in April 2019.

I greatly enjoyed Ms. Han’s recital, and took home a signed copy of her Steinway & Sons CD Le Rossignol Eperdu. So when she told me about her new album Hollywood Romance, I couldn’t wait to explore it.

Hollywood Romance (Universal Music, Nov. 2020)

Hollywood Romance consists of 13 tracks of romantic-style classical music used in Hollywood movies. Some tracks are original piano works. Others are piano transcriptions or arrangements.

This is beautiful classical piano, played by an accomplished pianist. The recording quality is excellent, and the performances lush. Here are some tracks that caught my attention.

Rachmaninoff: Andante Cantabile (Paganini Rhapsody var. 18)

This concerto-like work for piano and orchestra is used in various movies, most notably Somewhere In Time (1980). It is one of Rachmaninoff’s most filmic compositions.

Ms. Han’s arrangement is clean and and convincing. Her interpretation is warm, conservatively paced and characteristically luminous. She stretches Rachmaninoff’s crescendos without breaking them, and closes with serene beauty. Here is video from the recording sessions.

Gershwin: Rhapsody in Blue

Many pianists play this faster than Gershwin’s molto moderato, but not Ms. Han. Her judicious pacing and restrained crescendos evoke grandeur that I am not used to from Gershwin. The resulting musical experience feels somehow wider and deeper, more movie-like.

Puccini: O Mio Babbino Caro

Before listening to this track, I watched soprano Elisabeth Nefeli sing the aria. That was not a good way to approach this piano arrangement! Ms. Han weaves an elegant tapestry of arpeggios, and Puccini’s soulful melody flows and ebbs under her hands as it should. But Puccini fans waiting to hear heart-wrenching soprano high kicks may be disappointed, because a piano just can’t do that kind of thing.

Schubert/Liszt: Ständchen (Schwanengesang D 957 No 4)

Ms. Han’s liquid touch and Schubert’s flowing melodies work well together. Hear this on YouTube at Liszt: Schwanengesang, S. 560 (after F. Schubert).

Where to get Hollywood Romance (links from the artist)

  • Apple Music: https://music.apple.com/gw/album/hollywood-romance/1540051411
  • Spotify: https://open.spotify.com/album/7h7Kr94IxEh48PydgM2mBc
  • QQ Music: https://y.qq.com/n/yqq/album/004PkYOw3sNAi3.html
  • Amazon Music: https://music.amazon.com/albums/B08NWBZSDJ

The album is available as a CD overseas, but not in US markets at this time.

[Roving Pianist writes independent reviews and has no financial stake in sales of this product]

Filed Under: Pianists Tagged With: elisabeth nefeli, Gershwin, hollywood romance, rachmaninoff. puccini. piano. pianist. o mio babbino caro. liszt, review, Rhapsody in Blue, Schubert, Standchen, universal music group, Yoonie Han

Pianist Michael Bulychev-Okser at Central Park West

Sunday, December 18th, 2016 by Ken Leave a Comment

Michael Bulychev-Okser with host Robin Shoemaker

Michael Bulychev-Okser with host Robin Shoemaker

I first saw Michael Bulychev-Okser while I was meeting other guests in the foyer of Mr. Shoemaker’s home at Central Park West. While many pianists seclude themselves backstage prior to performing, our pianist for this December evening stood nearby, friendly and engaged.

This was a good sign. At Mr. Shoemaker’s salon concerts there is no stage to elevate the pianist, and no stage lighting to isolate the performer. The pianist and the audience inhabit the same space, and Bulychev-Okser appeared ready to make the most of this.

Michael Bulychev-Okser

Bulychev-Okser is an enterprising and accomplished pianist and composer who began his studies in Russia and now lives in the United States. You can find his extensive bio on the web site of the Gershwin International Music Competition, which he founded and directs. He also founded the Alion Baltic International Music Festival.

Low-key Style

Mr. Bulychev-Okser’s low-key style made it easy for him to connect with his audience, despite his imposing résumé. He introduced each work to us, sometimes with humorous anecdotes, before playing it. At the keyboard, he did not indulge in theatrical gestures or other artifice to tell his audience how to feel: he just played his heart out for us.

The Program

The program was heavily weighted toward piano arrangements. Here is the detail, with links to representative YouTube videos.

  • Von Bulow, arr. Liszt – Dante “Tanto gentile e tanto onesta” S. 479
  • Glinka, arr. Balakirev – The Lark (Olga Scheps)
  • Brahms, arr. Schutt- Lullaby (Bulychev-Okser)
  • Arensky, arr. Siloti – By the Fountain (Zeynelova)
  • Alabyev, arr. Liszt – The Nightingale (Bulychev-Okser)
  • Kreisler, Arr. Rachmaninov – Liebeslied (Rachmaninov!)
  • Rachmaninov – Etudes-Tableaux, Op. 33, No. 2 in C Major, No. 5 in D Minor
  • Bulychev-Okser – Hermes and Satire – Jazz Fantasy
  • Gershwin, arr. Wilde – The Man I love & Somebody Loves Me
  • Gershwin – Rhapsody in Blue Potpourri

Russian

The repertoire was substantially Russian, from Balakirev/Glinka thru Arensky, Alabyev and Rachmaninov. And Bulychev-Okser himself came across as a seriously Russian pianist. No surprise there, given his Moscow Conservatory roots.

But if Bulychev-Oksner had not spoken to us in his melodic Russian accent, would his performance have felt so Russian? Was I deluding myself into perceiving the authenticity of Glinka/Balakirev’s plaintive Lark, Rachmaninov’s soulfulness, or the balalaika-like dance that breaks out around 2 minutes into The Nightingale? I don’t think so!

I’m used to softer versions of The Nightingale, but I loved how Bulychev-Okser threw himself into this piece. He made the floor shake and our ears ring. You don’t often see a world-class pianist stomping the sustain pedal as if he were wearing Cossack boots. In a less intimate performance space, everyone would have cheered.

American

It was harder for me to relate to the concluding elements of the program, including Bulychev-Okser’s own composition, because I don’t understand jazz. However I enjoy Gershwin, and looked forward to the Rhapsody in Blue Potpourri. Unfortunately the original work (here) outshines any substitute. So I was a little underwhelmed, through no fault of the pianist.

An Evening of Contrasts

The piano sang when Bulychev-Okser played Russian repertoire. When his program shifted from Russian to American it was more in keeping with his adopted country’s culture, but less compelling. While America is also my adopted country, I personally preferred Bulychev-Okser’s Russian material. Finally, I don’t think that anyone who attended will forget his floor-shaking Nightingale.

 

 

Filed Under: Concerts, Private Concerts Tagged With: Alabyev, Alion Baltic International Music Festival, Arensky, Central Park West, Gershwin, Gershwin International Music Competition, Michael Bulychev-Okser, Rhapsody in Blue, Robin Shoemaker, Russian, salon concert, The Nightingale

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