Tag Archives: Mettle

Keyed-Up series

 

 

Raymond Yong (piano)

Callaway Auditorium

reviewed by Neville Cohn

 

Few composers are as demanding on musicians as Mozart. The tiniest misjudgement in passagework, the smallest lapse in clarity can prove disastrous. Happily, Raymond Yong succeeded in steering the clearest and most musicianly way through the solo part of Mozart’s Concerto in A, K414 ensuring, seemingly effortlessly, that the peak of the afternoon lay securely in the keeping of the Salzburg master.

 

It was a rarely encountered version of the work, with the orchestra here replaced by a string quartet, an alternative mooted by Mozart himself. Here, with his customary distinction, Paul Wright led a quartet made up of Isabel Hede (violin), Jared Yap (viola) and Sophie Parkinson-Stewart (cello).

 

If this had been Yong’s only contribution to the afternoon, it would have been an altogether fulfilling experience, such were the precision, fluency and expressive insights brought to bear on the score. Raymond Yong

 

Later, we heard Liszt’s massive Sonata in B minor, a work which is

no-man’s-land to all but the very few pianists able to meet its formidable challenges, not least of which is substantial staying power to maintain momentum through its frequently gruelling episodes. In its half-hour course, Liszt’s work poses immense physical and stylistic challenges that can test the mettle of the most experienced of pianists. From every standpoint, however, Yong was clearly in control. It was an heroic effort, crowned with success in a way that augurs well for a solo career of distinction. There was no hint of strain at all, despite the massive demands the sonata makes on the performer.

 

A bracket of the first eight of Chopin’s 24 Preludes opus 28 was less uniformly persuasive. The first, in C, barely hinted at the composer’s requirement that it be played agitato. No 5 in D sounded rather bland. But the famous Prelude in E minor was a beautifully considered offering, an essay in melancholy. The Prelude in F sharp minor, too, could hardly have been bettered, its fiercely demanding, very rapid figurations in the right hand despatched with utmost agility and accuracy.

 

As encore, Yong played Schubert’s Impromptu in G flat, its serenity a perfect foil to the passionate grandeur of the Liszt Sonata.

Piers Lane (piano) with W.A.Symphony Orchestra

                       

Perth Concert Hall                                           

and in recital at

Government House Ballroom

reviewed by Neville Cohn

 

In one of the most compelling performances from the W.A.Symphony Orchestra this year, it became again abundantly clear that when the right person is on the conductor’s podium, the orchestra is capable of formidable feats. With Czech-born Jakub Hrusa presiding over events, the WASO strings were wonderfully on their mettle in the overture to Smetana’s The Bartered Bride. Absolute clarity, accuracy at high speed and buoyant momentum brought this listener to the edge of his seat. Later, we heard Piers Lane in top form as he brought infallible fingers and unflagging energy to what came across as unusually macho Mozart.

 

I’ve not before heard the Piano Concerto K482 (or any other by Mozart for that matter) given such virile treatment. It is one of Mozart’s most brutally demanding piano scores – and Lane, firing on all musical pistons, was more than up to the challenge. This was as far from the Dresden-china-delicate, tinkle-finger school of Mozart piano playing as one could imagine. This was heroic, robust stuff that in less than assured hands might well have sounded grotesquely inappropriate. It’s a measure of Lane’s superlative musicality and musicianship that he brought it off in so triumphant a way. And the peekaboo insouciance that informed the finale was a delicious contrast to what had gone before. Bravo!

 

Woodwind and brass choirs were quite rightly given special acknowledgement at concerto’s end.

 

An account of Dvorak’s Noonday Witch was less uniformly satisfying; it lacked the  energy and precision that had informed the Smetana performance. However, in Janacek’s Taras Bulba, which Hrusa conducted from memory (as was the Dvorak work), the initiative was retrieved in a way that ensured that the inherent turbulence of the score was evoked to splendid effect. Anguish, terror and horror are the emotional building blocks of the score and how effectively Hrusa and the WASO brought that home to the listener as one massive climax after the other was hurled into the auditorium.

 

On Sunday, Piers Lane came to Government House Ballroom. Whether in so hackneyed a piece as Mendelssohn’s Bee’s Wedding or enchanting the ear with a series of waltzes by Schubert – how rarely these little gems figure in recitals these days – Lane was at the top of his game with flawless fingerwork and an intuitive grasp of style.

 

Brahms’ gigantic Sonata in F minor is not for timid pianists. It requires fearless fingers, great feats of memorisation and endurance to stay the course – and on all three counts Lane was beyond reproach. In the opening allegro maestoso, he negotiated ferociously difficult chordal leaps with majestic aplomb – and in the sonata’s more introspective moments, he mined the music for all its intimate subtleties. Lane did wonders, too, in navigating a sure way through the goblinesque moments of the scherzo.

 

Apart from the ubiquitous Bee’s Wedding, the second of the group of Mendelssohn Songs Without Words was lovingly fashioned, with a warm-toned legato line to staccato accompaniment. It was one of the gems of the afternoon.

 

Of a bracket of Chopin Nocturnes, I particularly admired opus 15 no 1 in F; the melancholy beauty of its outer sections was impeccably essayed – and in the central episode Lane did wonders with its churning figurations. In the Nocturne in D flat from opus 27, which is some of Chopin’s most deeply probing music, Lane responded with an answering depth of feeling and the sort of cantabile tone that would surely have tempted even the grumpiest bird from a twig.

 

Not the least of the pleasures of this recital was Lane’s linking commentary at which he is so inordinately skilled. He is one of the very few musicians who does this sort of thing very well unlike so many others whose progress to the microphone is observed with a sinking feeling.

 

Lane romped through Schulz-Evler’s excruciatingly difficult take on Strauss’ Blue Danube and then brought the house down with Dudley Moore’s riotously funny Beethoven spoof played on the Ballroom’s magnificent new Fazioli grand piano.

 

Present at this packed-out and noisily appreciative recital were Mr Fazioli, head of the famous Italian piano-building family – and the Governor of Western Australia and Mrs Michael who cut the bright yellow ribbon wrapped around the piano before the recital began. 

 

By any standards, this Fazioli instrument is a magnificent piano and just the sort that’s needed for the increasingly frequent concerts given at this venue. It was altogether appropriate that the honour of ‘christening’ the piano was given to Lane, one of our most cherished musicians.