Mozart Archives - ROVING PIANIST

Pianist Wynona Wang Will Make You Smile

Sunday, November 7th, 2021 by Ken Turner

Wynona Yinuo Wang

On November 6th 2021, pianist Yinuo (Wynona) Wang entered the Shoemaker Salon with a light step and a radiant smile. A Juillard student with promising credentials, she seemed energized by this intimate setting.

Mozart: Sonata No. 13 in B-Flat Major K 333

This sonata opens with a charming allegro, crisply articulated by Ms. Wang. In subsequent movements Wynona surprised us with her lyrical flair and Beethoven-sized passion. Her Mozart appetizer became part of the main course, and we loved it.

Rachmaninoff: Prelude in F-Sharp Minor Op. 23 No. 1

The dark, F-Sharp Minor Prelude’s drifting melody and textured chromatic waves tug at our deepest emotions. In a scant few minutes, Ms. Wang’s heartfelt performance filled the salon with somber and yet ethereal yearning.

Rachmaninoff: Daisies Op. 38 No. 2

Rachmaninoff wrote his Daises song in Russia in 1916. Later, after moving to America to escape the Russian Revolution, he transcribed it for piano. In Ms. Wang’s program, Daises served as a breathing space between his massive preludes.

Rachmaninoff: Prelude in B Minor Op. 32 No. 10

Ms. Wang told us that this prelude (inspired by 1887 painting The Homecoming) was Rachmaninoff’s favorite. And it is also a Roving Pianist favorite. This quintessentially Russian work is among Rachmaninoff’s most satisfying, and Wynona Wang’s performance was moving and authentic. I loved how she stretched the harmonics of the Steinway’s deep bass in the closing moments.

Rachmaninoff: Prelude in G-Flat Major Op. 23 No. 10

The G-flat Prelude is gentle and luxuriously atmospheric. Wynona’s nuanced dynamics and clarity of voicing created some of the most sublime moments of the evening. As one guest commented afterwards, everyone in the room was connected through the spiritual beauty of Ms. Wang’s interpretation.

Rachmaninoff: Études-Tableaux Op. 39 Nos. 8 and 9

These are not my favorite Études-Tableaux, but they were well-executed. The first (Op. 39 No. 8 in D Minor) was a rolling, deliriously ecstatic clangor. The second (Op. 39 No. 9 in D Major) felt somewhat cluttered.

Schumann: Sonata No. 1 in F-Sharp Minor Op. 11

Wynona Wang owned Schumann’s sonata from its opening motifs, through romantic interludes, fugue-like diversions and seemingly endless clattering repetitions. While Schumann can feel clumsy in the wrong hands, Ms. Wang’s artful presentation showcased this lengthy, challenging Sonata at its best.

Meeting Wynona

At the piano, Wynona Wang vanished into her performance. But in person, Wynona Wang was engagingly present and effusive. She knows that she’s good, and basked happily in our admiration. In a few years, we could be standing in line for her autograph.

Wynona with host Robin

Winona Yinuo Wang NYC 2021

Wynona with the Author

Pianist Ivan Gusev plays at Private Event

Saturday, May 18th, 2019 by Ken Turner

Ivan Gusev

Pianist Ivan Gusev was born in Kazakhstan. He has two degrees from the Moscow Conservatory, an institution that produces pianists of the pedigree of Emil Gilels, Sviatoslav Richter etc.

So when I received an invitation to attend Ivan’s recital in a private home, I was thrilled. A Russian School pianist playing Rachmaninov! I couldn’t wait to hear him play.

The program opened with some light Mozart. Thereafter the recital grew progressively more intense, closing with fireworks in the form of a virtuoso Rachmaninov prelude.

Mozart: Sonata No. 12 in F Major K322

Mozart’s Allegro opens friskily, bouncing back and forth to minor key arpeggios, with glimpses of Beethoven-like drama. Gusev glided through this with confidence.

The gentle Adagio over a clockwork (Alberti) bass introduced us to Gusev’s signature head-back eyes-closed happy face. Mozart can have that effect on people!

The closing Allegro Assai was a little more rambunctuous, giving Gusev room to show some pianistic flair.

Schubert: Four Impromptus, Op. 90

Gusev addressing the audience

Schubert’s weightier warmth allowed Gusev room to be more expressive. Here, as throughout the recital, I was struck by how focused he was and how rich his sound. The deep low end of the house Steinway helped.

Grieg: Six Poetic Tone Pictures, Op. 3

These short Grieg works are, as Gusev noted, very romantic. He played them with passion, but to me the works themselves were incoherent.

Here and there we heard echoes of a folk dance or a lullaby. At other times, Grieg sounded like Chopin having a bad practice day.

Rachmaninov: Three Etudes-Tableaux

Of the selected Etudes-Tableaux, I most enjoyed the first (A minor Op. 39 No. 2 “The Sea and the Seagulls”). Gusev’s resonant harmonics glowed. His right hand crossed his left in a slow, mesmerizing arc for the bass motif. Indeed his presentation of Rachmaninov’s cacophonous layers was so riveting that I momentarily forgot to breathe.

The E-flat minor had more of a movie-theme feel. It was expansive, pounding and appropriately slushy. After the opening drama and subsequent clatter the theme returned, crumbling into dissonance. Again Gusev projected emotion with controlled intensity.

Gusev gave an expansive, weighty performance of the C minor Op. 33 no. 3 (compare with Yuja Wang, Berlin 2018) . When the big theme came forward over a dominant low end, the result was quite different from what you hear in other performances. I loved it.

Rachmaninov: Prelude in B-Flat Major, Op. 23 No. 2

From the resounding opening through dazzling two-handed descents to glittering right hand swirls, Gusev threw everything he had into this showpiece. He appeared enraptured, playing with such vigor that the piano shook.

This was a remarkable performance, larger than the pianist and the setting. While one could nitpick here and there, I felt that this was Rachmaninov as he should be played. As the final chord faded, someone shouted “yeah!”. The pianist stood up with a huge grin. He knew that he had nailed it.

Encores: Chopin Waltzes

The first encore was Chopin’s Waltz in A minor Op. Post. This is a forgiving work that pianists can easily put their personal stamp on. Gusev’s Waltz was adventurous, with liberal rubato and fast upper register runs. Finally, Gusev played Chopin’s Minute Waltz Op. 64 No. 1.

Russian soul?

Ivan Gusev’s performance style is low-key. Sometimes he leans into the piano or tilts his head back. At other times, he raises an arm to punctuate a phrase. His facial expressions are not theatrical. They are those of a pianist immersed in creating an authentic musical experience.

With the exception of Grieg (for which I hold the composer responsible), Gusev’s entire recital was enjoyable. But his Rachmaninov outshone everything else. It was simply stunning.

Was this because Gusev is, as he explained to me, culturally 75% Russian? Or is it more a product of his Moscow Conservatory education? From either perspective, I miss only the vodka and zakuski.

Grace Park and Joseph Liccardo at Central Park West

Monday, November 5th, 2018 by Ken Turner

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.”