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Pianist Yoonie Han Graces New York Salon

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Yoonie Han at Central Park West April 2019

Yoonie Han at the Shoemaker Salon, NYC

On Thursday April 11th 2019, pianist Yoonie Han gave a recital at the Shoemaker Salon on Central Park West, NYC.

The program was anchored by the work of French composer Reynaldo Hahn (1874-1947) and ranged across the romantic era from late 19th century to mid-20th.

Ms. Han introduced each work to us before playing, which the audience always appreciates.

Gluck/Friedman: Melodié from Orfeo ed Euridice

After just a few phrases of Mélodie it was obvious that Yoonie Han has something unique. Her fluency and refined pacing touch the edge of perfection and tug at the heart throughout this wistfully beautiful work.

Hahn: Le Rossignol éperdu (selections)

Stylistically French, Le Rossignol éperdue‘s impressionistic aura made it feel more like a predecessor to Debussy than the successor that it is.

Ms. Han played just 16 of its 53 poèmes due to the size of the work. I asked later how she chose which to play. Mostly, she selected the poèmes that she felt she played best.

Granados: Goyescas – El Amor y la Muerte

Yoonie Han with Robin Shoemaker

Yoonie with host Robin

After Hahn’s dreamy and occasionally cloying work, Granados’ more lugubrian fare with its Liszt-ian progressions was a well-chosen successor. Here Ms. Han had room to show more of her expressive range.

Encore: Clair de Lune (Debussy)

Composed in 1890, Debussy’s work was the earliest of the entire concert, yet it encapsulated our entire evening with Yoonie Han: reflective, evocative and beautifully delivered, but all too short.

Yoonie Han’s New CD

After the recital I purchased Yoonie Han’s new CD on the Steinway and Sons label. It contains the full cycle of Le Rossignol éperdue, only the second recording ever to do so.

When Ms. Han went to autograph her CD, it was difficult to find a place on the box. I suggest to Steinway and Sons that there should always be a place for the artist to write. After all, a CD is insufficient as a memento of a live performance. Fans want a little bit of the artist herself.

Pianist Han Chen Returns to Central Park West

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Han Chen

Han Chen playing Thomas Adès

On August 10th, 2018 Robin Shoemaker once again hosted pianist Han Chen at his Central Park West salon.

Mr. Chen’s program consisted of his repertoire for an upcoming competition in Calgary, Canada.

Han Chen thanked Robin and guests for the opportunity to play these works before a live audience. He explained that this is an essential part of how a pianist prepares.

Schubert: Piano Sonata No. 19 in C Minor D. 958

From the semi-religious grandeur of the opening chords to the manic gallop of the last movement, Han Chen played Schubert’s Sonata with a driven energy that captivated his listeners. At times the rhythm of the piano was reflected in audience motion, as if people were feeling an urge to get up and dance.

On a sticky New York evening the keyboard can get slippery. A couple of times Mr. Chen had to dry his fingertips. He did this in the blink of an eye, with an arm gesture that looked like pianistic panache. If I had not been seated up front, I would have perceived it as Lang Lang style swagger.

Thomas Adès: Concert Paraphrase on Powder Her Face

Chen immersed himself in this contemporary work with conviction. He was fun to watch because his style is very expressive, but I did not understand Concert Paraphrase on Powder Her Face. Its erratic rhythms and pauses, drifting harmonies and apparent lack of melody left me feeling confused.

I reached out to Mr. Chen after the recital for insight. He explained that the work arose from an Adès opera, and talked about the appeal of the technical challenges of the work.

Franz Liszt: Reminiscences de Don Juan

Host Robin with pianist Han Chen

Under Han Chen’s hands, this demanding work was entertaining and impressive. You can watch him perform it at the Rubenstein Competition (2017) on YouTube at CHEN Han | F. Liszt – Réminiscences of Don Juan, S. 418, Stage I.

On this evening at Central Park West he rose to the challenge literally, rising from the piano bench to put more emphasis into key moments. At one point he even seemed to snarl at the piano.

[encore] Glinka arr Liszt: Chernomor’s March from Ruslan and Lyudmila

I was surprised that Mr. Chen gave an encore after playing his full program with no break. This short and punchy work was a pleasant bonus, at times reminiscent of Mussorgsky.

Han Chen and the Honens Piano Competition

I first saw Han Chen play at Robin’s home in 2017. It was a remarkable event that you can read about in my post Pianist Han Chen at Central Park West. Han went on to reach the semi-finals of the 2017 Van Cliburn Piano Competition.

It was our great pleasure to be Han’s audience for this dry run for the 2018 Honens Piano Competition. His selection showcases his enormous power and virtuosity, affording him moments of triumph reminiscent of Lang Lang. He will do well at this competition.

And Yet

And yet, the moments I personally liked most came during the Schubert Sonata, where Han’s keyboard alternately bubbled with joi-de-vivre and gleamed with serenity. If it is for young pianists like Han Chen to challenge us with new music such as Thomas Adès, it is for those of us at the other end of life’s spectrum to encourage Mr. Chen to share more of his reflective side.

 

 

 

Lars Vogt at Alice Tully, New York 2017

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Alice Tully Hall for Lars Vogt April 9 2017

Waiting for Lars Vogt at Alice Tully, April 9 2017

On April 9th, 2017 I was privileged to attend Lars Vogt‘s recital of Bach’s Goldberg variations at Alice Tully Hall in New York.

I love the Aria that begins and closes the Variations, but I do not know everything in between. This was over an hour of pianistic embroidery, uniquely interpreted by each artist who plays it. I myself am partial to Andras Schiff.

Lars Vogt

Lars Vogt was a clean and disciplined performer. His feet did not touch pedal during the entire performance, leaving him squirming at times to find somewhere to put them. His crisp articulation never seemed mechanical, because of his exquisite ornamentals and an almost surreal ability to separate voices in a constantly changing weave.

Overall, this recital was quintessential, crystalline Baroque, with a distinctly masculine strength. No simpering beauty here! It was what the Alice Tully crowd wanted, because Mr. Vogt drew cheers afterwards.

New York Audience

I don’t have much to say about the perfection of Vogt’s performance, but the same can not be said of his audience. I recall the gentleman, if I dare use that term, who used his  iPhone flashlight to read his program. He shone that light into the corner of my eye until I saw spots. And the lady sat next to him, who pencilled scratchily on sheet music through the entire performance. If this is the cultural elite of New York, you know what you can do with it.

My experience of Lars Vogt’s Alice Tully audience was par for the New York classical audience in general. Who among us has not been victim of an American entrepreneur who, at lights down, leaps from behind to snare a vacant seat in front of us? Or the young woman who helped herself to an empty seat next to me and illicitly recorded video of Khatia Buniatishvili while the glare from her phone distracted everyone around her?

We all want to play New York

In the country of my birth, such behavior would result in the offender being hissed into submission. Or perhaps, he would be beaten by rolled up umbrellas wielded by old ladies. In an eastern European country that I recently visited, the audiences were so respectful that I was embarrassed even to raise my camera. But New York? Ah, New York! I can’t say anything, because we all want to play New York (including your reviewer, if truth be told).

You want an encore?

When the audience called for an encore, Lars Vogt picked up the sheet music from the piano and held it up to us. I played the entire Goldberg Variations with no intermission and you want an encore? I had to agree with him. What can surpass 75 minutes of such bejeweled treasure?