A very satisfying recital last night (28 April 2013) by Juilliard-trained Taiwanese pianist Stephanie Chou at the recital hall of the National Concert Hall.
The audience was a good size, the Steinway piano in excellent condition with a fine acoustic. The performer was well-presented in a flaming red dress and high-heels, and demonstrated good stage manner (happily avoiding the exaggerated mannerisms that were on display the previous evening in the concert hall by the Labeque sisters). The programme notes contributed by the performer were in Mandarin only, and my wife reports that these were helpful.
The opening number was the rarely heard G minor Sonata op 22 by Schumann. (The work opens with Schumann’s ‘Clara’ theme, the same descending motif which opens the great Fantasy in C.) This was a very confident and exciting presentation, with clear phrasing, well shaped and admirably well-prepared. Even in the face of awesomely complex technical challenges such as the coda of the fourth movement, the pianist kept her cool and delivered the goods. Brava!
Poulenc’s 'Hommage to Edith Piaf' is another rarely heard gem, and this received contented and spacious playing with many dreamy moments. Ravel’s 'Jeux d’Eau displayed perfectly controlled pedalling, with the pianist’s virtuosity excelling in the rapid sections on display, and a distinguished control of soft shadings. The fearsomely difficult 'Alborada del gracioso' perhaps needs just an extra ounce of carefree mastery to throw off the crisp rhythms with nonchalance, but the famous glissandi came off perfectly.
In the second half, we heard the teacher of Ravel, Gabriel Faure, whose delicious 5th Nocturne was given a warm performance, the swirling arpeggios of the middle section calling for controlled pianism, which was mostly delivered. The programme ended with Chopin’s great third sonata. What a big programme!
My only criticism is that, from where I was sitting at the back, there was a slight lack of volume in the climaxes of the music. This may have been the acoustics, but I suspect some technical weakness in the 4th and 5th fingers of the right hand: perhaps if these fingers could sink downward into the piano more - it would help to add extra volume at the top, allowing the bubbling sections to ‘sizzle’ more hotly whenever required. This extra electricity will further enhance engagement with the audience. But despite this complaint, it was a very impressive and enjoyable recital.
The audience was a good size, the Steinway piano in excellent condition with a fine acoustic. The performer was well-presented in a flaming red dress and high-heels, and demonstrated good stage manner (happily avoiding the exaggerated mannerisms that were on display the previous evening in the concert hall by the Labeque sisters). The programme notes contributed by the performer were in Mandarin only, and my wife reports that these were helpful.
The opening number was the rarely heard G minor Sonata op 22 by Schumann. (The work opens with Schumann’s ‘Clara’ theme, the same descending motif which opens the great Fantasy in C.) This was a very confident and exciting presentation, with clear phrasing, well shaped and admirably well-prepared. Even in the face of awesomely complex technical challenges such as the coda of the fourth movement, the pianist kept her cool and delivered the goods. Brava!
Poulenc’s 'Hommage to Edith Piaf' is another rarely heard gem, and this received contented and spacious playing with many dreamy moments. Ravel’s 'Jeux d’Eau displayed perfectly controlled pedalling, with the pianist’s virtuosity excelling in the rapid sections on display, and a distinguished control of soft shadings. The fearsomely difficult 'Alborada del gracioso' perhaps needs just an extra ounce of carefree mastery to throw off the crisp rhythms with nonchalance, but the famous glissandi came off perfectly.
In the second half, we heard the teacher of Ravel, Gabriel Faure, whose delicious 5th Nocturne was given a warm performance, the swirling arpeggios of the middle section calling for controlled pianism, which was mostly delivered. The programme ended with Chopin’s great third sonata. What a big programme!
My only criticism is that, from where I was sitting at the back, there was a slight lack of volume in the climaxes of the music. This may have been the acoustics, but I suspect some technical weakness in the 4th and 5th fingers of the right hand: perhaps if these fingers could sink downward into the piano more - it would help to add extra volume at the top, allowing the bubbling sections to ‘sizzle’ more hotly whenever required. This extra electricity will further enhance engagement with the audience. But despite this complaint, it was a very impressive and enjoyable recital.
