Melbourne Recital Centre
Tuesday July 24
In the first of two programs that she is presenting for Musica Viva, pianist Joyce Yang brought back a lot of memories for those of us brought up through a deliberately inculcated familiarity with 19th and early 20th century repertoire. She opened Tuesday night’s recital with five of the Lyric Pieces by Grieg, followed by Debussy’s Estampes, then the Chopin Andante spianato et Grande polonaise brillante as a substantial chaser.
In her post-interval endeavours, Yang gave the Melbourne premiere of a piano sonata by Sydney composer Elizabeth Younans, a work commissioned for this tour by Julian Burnside for Musica Viva; fortunately, the new piece has considerable merit for two-thirds of its length. And the formal program concluded with Schumann’s Carnaval, handled with splendid authority and sustained insight – so much so that, for the first time in many years, you could become fully engaged in the composer’s compressed kaleidoscope of musical imagery, rather than doomed to endure a humourless demonstration of stultifying virtuosity.
You’d think that Yang was opting for an easy opening with the Grieg, especially as only one of the five she chose was unfamiliar. But there are problems to be found in even the simplest pages, like the Arietta that stands at the entrance to the whole 66 Lyric Pieces. It’s not Wedding-day at Troldhaugen or the March of the Dwarves which are thrilling to play and to hear; but it requires a delicacy in shaping Grieg’s somewhat whining lyric to ensure that it is sent on its way with winsome appeal. Here, and in the following Notturno, Yang was barely stretched, although her negotiation of the triplet-heavy accompaniment in the latter sounded rigid, at points turning the piece into a slow waltz. Yet her right-hand trills spoke with excellent evenness
The unknown (to me) piece Once upon a Time made a pleasant exercise in contrasts, its outer E minor slow march pages interrupted by a bucolic major key 3/4 dance; nothing complex to it and rich with the composer’s fingerprints but carefully managed here. The Scherzo suffered from an imbalance in hand weight, as did Puck where the treble clef material did not travel as clearly as it should have over both the arpeggiated and chordal bass accompaniments.
Debussy’s Pagodes brought out Yang’s individuality,mainly through her approach to the many ritenuti/A tempo oscillations which made the first page unpredictable; for my taste, the longueurs were entertained a tad too much. But the work progressed clearly enough with very fine definition of layers before the first fortissimo outburst. In fact, the central problem with this version came at the double climax points which would have gained from more shoulder strength.
It was a slow night in Grenada, the habanera one of the least rhythmically compulsive you would ever come across, but Yang’s singular lightness of approach brightened up the piece’s middle section where the key signature changes to F sharp Major. It wasn’t just a case of performing avec plus d’abandon but more finding and delivering a brighter sonority informed by a wry angularity that reflected Debussy’s wayward venture away from the work’s outer haziness. The pianist had all the notes of Jardins sous la pluie under her command yet the effect was formulaic – not exactly a study but often not that far removed. You were expecting – well, I was – a good deal more brilliance of timbre in the final pages from en animant jusqua la fin but Yang kept her powder very dry. Understandable, given that much of these final pages is tamped-down vitality. Yet even the final splayed chords impressed as over-deliberate.
On the other hand, it was hard to find fault with Yang’s Chopin offering. The spianato section came over with elegance and discretion, its bel canto lyricism emerging in an effortless, unstudied chain, leading to a mellifluous passage from bar 97 to 110 where the matched pairs of sextuplets faded to a breathtaking, all too rapid chordal coda. The ensuing polonaise proved an unalloyed delight, full of character and infused with carefully handled rubato At certain action-packed moments, Yang’s right-hand work gave us some of this night’s most memorable brilliance; for example, I don’t believe I’ve ever heard a more bravura account of bars 221-261, the forward surge unstoppable, lucid and without a sign of flashy vulgarity.. But moments like that underlined Yang’s comprehensive accomplishment here, thanks to an admirable fearlessness and what I can only describe as consistent emotional sprightliness.
Younan’s fresh sonata, in three movements, lived up to the composer’s meagre descriptor, amplified by Yang, by opening with blocks of motivic material in quick succession. Its first movement presented to my ears as a sequence of variations, in that Younan’s initial blocks move into a sequence of events in which the initial shapes can be detected, these events discrete so that you’re aware that another treatment is beginning. The score exploits the piano’s range and dynamic potential and persists in a vehement volubility.
In the second movement, the composer proposes a deep bass line set against top-of-the-keyboard pointillism. To Yang, it suggests an astral journey – which is fair enough if you subscribe to a Holstian view of cosmology.. But it’s not all sub-Uranian rumblings and Mercurial scintillations: Younan has a central layer , more complex in its patterns but distinctive for a rising scalar pattern and giving these pages a welcome amplitude of colour to give flesh to their outer reaches.
I found the last quick movement the least interesting part of the sonata. Jazzy, jerky, with the spectre of Bartok juddering forward every so often, the work seems to devolve into a show-piece for the executant. Its character presented as less self-assured than its predecessors, being more fitful and self-conscious in its juxtapositions of active bursts. For all that, Yang gave a devoted interpretation, sustaining your interest in the finer segments and working with diligence through less satisfying stretches.
As for this performer’s Schumann account, here was one of those rare occasions where you could put your pen down and bask in the playing, totally secure in Yang’s vision and her unflappable delivery. From the opening call-to-arms of the Preamble to the spent exhilaration of the concluding Davidsbundler March, the pianist maintained the pressure, urging us on through each of the character sketches but giving each its requisite space.
You might have quibbled with the over-schizoid nature of Yang’s Florestan reading where the composer’s self-portrait (well, half of one) approached the manic; but there’s no doubt that you can find this duality all too easily in the music itself. Yang took a no-nonsense approach to the 14-bars’ worth of Chopin, following up with as forceful an Estrella as I’ve encountered, its central syncopated bars more ferocious than expected.
But it was Yang’s gallery-vista approach that moved this performance onto a higher level. She outlined her take on the composer’s chameleonic personality, complete with detours and abrupt darts off-target, and brought us into her vision with confidence. Along with this clarity of purpose, Yang also articulated the chain of movements with a spirit-lifting agility, even in the hefty finale with its Grossvater Tanz or ’17th century theme’ lumbering in to represent the Philistines that Schumann fought so zealously. Unlike a good many other renditions, which make you relieved that the last A flat Major chord has resonated, this one proved elating, a solid piece of work but never stolid.
Yang plays her second program this Saturday, July 28. In place of Grieg, she will perform three Rachmaninov preludes, including the notorious C sharp minor Op. 3 No. 2. Replacing Debussy is Janacek’s Sonata 1.X.1905 while Chopin’s double act is sacrificed for Liszt’s Rhapsodie espagnole, which has all but disappeared from view these days. The Younan Piano Sonata again leads off the evening’s second half and the major work is another Liszt: the B minor Sonata.