CD Reviews (The Straits Times, June 2014)

BRASILEIRO

NELSON FREIRE, Piano

Decca 478 3533 / *****

This is a sparkling anthology of piano music from the homeland of celebrated Brazilian pianist Nelson Freire. Brazil’s most famous composer Heitor Villa-Lobos (1887-1959) accounts for 16 of the 30 tracks, all short pieces with strong melodic threads and infectious rhythmic interest. In Alma Brasileira (Soul of Brazil), Caboclo’s Legend, Saudades de Selvas Brasileiras (Longing for the Brazilian Jungle) No.2 and Valsa da Dor (Waltz of Grief), the listener is introduced to the spirit of “saudade”, a state of mind understood only by Brazilians equating with nostalgia and yearning. In Carnaval das Criancas (Children’s Carnival) and movements from Cirandas, Prole do Bebe (Doll’s Family) and Guia Pratico (Practical Guide), the simplicity of childhood songs is the main focus.

The other composers are less well known, but Carmago Guarneri’s Danca Negra, Alexandre Levy’s Tango Brasileiro , Joaquim Netto’s Minha Terra (My Country) and Francisco Mignone’s Congada occupy a similar ethno-musical pigeon hole as Cuban composer Ernesto Lecuona’s famous dances. Freire lavishes much love and missionary zeal in these numbers and there is rarely a moment in the 74 minutes that sounds repetitious or outlives its welcome. This album is very enjoyable and hence ardently recommended.   

BOOK IT:

NELSON FREIRE @

21^st Singapore International Piano Festival

School of the Arts Concert Hall

Saturday 28 June 2014 at 7.30 pm

Tickets available at SISTIC

IN 27 PIECES

THE HILARY HAHN ENCORES

HILARY HAHN, Violin

CORY SMYTHE, Piano

Deutsche Grammophon 479 1725 (2 CDs) / *****

Just a few years back, the American violinist Hilary Hahn commissioned 26 composers worldwide to write an encore piece for violin and piano lasting about five minutes in playing time. A further work was selected from a field of over 400 “blind” entries. The results are fascinating but somewhat predictable. Presumably every composer wishes to have his or her piece performed more than once, hence all chose the tonal and aurally accessible path. From Briton Mark-Anthony Turnage’s Hilary’s Hoedown (2 minutes) to Azeri Franghiz Ali-Zadeh’s Impulse (6 minutes), the pieces fall roughly into three broad categories: scherzo-like and virtuosic, still and ruminative, and ethnically-influenced in the case of Asian composers.

Hahn’s technical armamentarium seems limitless as she negotiates a multitude of styles, flavours and moods. For a sample of diversity, try Avner Dorman’s toccata-like and minimalistic Memory Games, the raga-simulations of Kala Ramnath’s Aalap and Tarana, Michiru Oshima’s sentimental Memories, David del Tredici’s meditative and hymn-like Farewell, or bluegrass fiddling in Mason Bates’s Ford’s Farm. Nowhere does she and her piano-partner sound less than committed.  Enough of Bach, Paganini or Ysaye to close a concert. Thanks to Hahn, these new encores will be winningly received.

CD Reviews (The Straits Times, July 2012)

IVES Violin Sonatas

HILARY HAHN, Violin

VALENTINA LISITSA, Piano

Deutsche Grammophon 477 9435 / ****1/2

Charles Ives (1874-1954) was the most original of the pioneering American composers. While others were imitating European Romantic traditions, he experimented with atonality in a parallel universe alongside the Second Viennese School. Even Schoenberg was in awe of his achievements, remarkable for one who was an insurance broker by profession. His four Violin Sonatas, composed between 1910 and 1920, are prickly little masterpieces that explore polytonality and polyrhythms (the violin and piano often play at cross purposes and independently of each other) besides using popular American tunes.

The Third Sonata, at 23 minutes, is the most substantial. The brief Fourth Sonata, entitled Children’s Day At The Camp Meeting, is however the most popular. Songs sung at Sunday School and revival meetings are relived, notably Jesus Loves Me. The link between Ives’s sonatas and symphonies is found in the First Sonata, which quotes Watchman, Tell Us Of The Night, a major theme of the Fourth Symphony. The central movement of the Second Sonata is a joyous barn dance with Turkey In The Straw and Sailor’s Hornpipe mixed up with bluegrass fiddling. American violinist Hilary Hahn and Ukrainian pianist Valentina Lisitsa give close to definitive performances which should bring these uncommon works new friends.

GRIEG String Quartet No.1/ Holberg Suite

Australian Chamber Orchestra

RICHARD TOGNETTI

BIS SACD-1877 / ****1/2

The music of Norwegian nationalist Edvard Grieg (1843-1907), strongly influenced by the folk traditions and dances of his homeland, lends well to treatment on the strings. His From Holberg’s Time, better known as the Holberg Suite, originally conceived for piano, is very popular in its string orchestra form. The Australian Chamber Orchestra gives a very spirited and rhythmically incisive account of its five movements, based on baroque dances, that is equal to the best. Also well-known are the Two Elegiac Melodies – The Wounded Heart and Last Spring – which sound poignant with the right mix of melancholy and nostalgia.

The big work here is leader-violinist Richard Tognetti’s arrangement of Grieg’s First String Quartet in G minor, an underrated piece that contains some of his best music. The first and fourth movements are linked by a motto theme which rings familiar because it also appears in the finale of the famous Piano Concerto. This is a stirring account that fully exploits massed string sonorities, thus surpassing the original conception. As an encore, Tognetti’s solo violin is heard to heartrending effect in Erotikk, a short but beautiful Lyric Piece, transcribed from Grieg’s sets of piano miniatures. String lovers should not miss this.

CD Reviews (The Straits Times, July 2011)

13th Van Cliburn 

International Piano Competition
ZHANG HAOCHEN, Piano
Harmonia Mundi 907506 / *****

How does a young up-and-coming pianist promote himself? Win a major piano competition and have a CD recorded as a calling card. That was exactly what 19-year-old Zhang Haochen did in 2009, sharing 1st prize with the blind Japanese Nobuyuki Tsujii at the Van Cliburn International Piano Competition. At the time, it was thought that Zhang, then a student, was too young to accept the responsibilities of a winner. However, listening to these “live” competition performances, the maturity and sheer adroitness of the playing suggest otherwise.

There are no edits, and hardly a note is dropped for Stravinsky’s fearsome Three Movements from Petrushka, a typical competition showpiece. In Chopin’s 24 Préludes (Op.28), the magisterial sweep achieved is revelatory, and each individual gem is shaded with polish and finesse. Mason Bates’ blues-inflected White Lies For Lomax, commissioned by the Competition, reveals Zhang’s sympathy for jazz idioms. Closing with Liszt’s Spanish Rhapsody, another barnstorming warhorse is served up with stunning accuracy. Fans of Lang Lang and Wang Yuja will not want to pass up on witnessing this major talent in person.

DON’T MISS:

ZHANG HAOCHEN 

with the Singapore Chinese Orchestra
22 & 23 July 2011, 

Singapore Conference Hall, 8 pm

ZHANG HAOCHEN Piano Recital
24 July 2011, 

Singapore Conference Hall, 5 pm
Tickets available at SISTIC

HIGDON & TCHAIKOVSKY 

Violin Concertos

HILARY HAHN, Violin
Royal Liverpool Philharmonic 

Vasily Petrenko
Deutsche Grammophon 477 8777 / ****1/2

The Violin Concerto by the American composer Jennifer Higdon (born 1962) was dedicated to Hilary Hahn, and sounds to be a durable 21st century virtuoso vehicle. Its two longer slow movements followed by a brief but furious finale superficially resemble the famous concerto of Samuel Barber. Just like Barber, Higdon’s is an accessibly tonal score but not without its share of discords and barbs, residing mostly in the opening movement. The second movement is a long-breathed chaconne that has that expansive feel that has come to define much of American music, followed by an impressive display of fireworks to close.

Hahn’s quicksilver technique and sound projection is peerless, which will win this substantial new work many new friends. Its coupling, the extremely popular Tchaikovsky Violin Concerto, however sounds almost subdued by comparison. Having outgrown her child prodigy years, Hahn’s restrained approach provides a more sober look at a familiar favourite. One just wishes for a little more youthful dash to complement her maturity.