KAZUNE SHIMIZU Piano Recital / Review

KAZUNE SHIMIZU Piano Recital

School of the Arts Concert Hall

Sunday (17 May 2015)

This review was published in The Straits Times on 19 May 2015 with the title "An evening of pianistic passion".

To celebrate the 100^th anniversary of the Japanese Association of Singapore, it was only appropriate that a Japanese artist be invited to grace the occasion. Pianist Kazune Shimizu, 1^st prize-winner of the 1981 Marguerite Long International Piano Competition in Paris, presented a programme of popular concert pieces, and proved to be more than equal to the task.

The first half was devoted to two well-known Beethoven piano sonatas. Mastery of pedalling was the secret to conjuring the shimmering sound in the first movement of the Sonata No.14 in C sharp minor (Op.27 No.2), better known as the Moonlight Sonata. This was, of course, not Beethoven's description but that of the publisher Rellstab, who was intent in boosting musical sheet sales.

The pastoral second movement was crisply shaped, leading into the finale's maelstrom which remains one of Beethoven's most violent movements. Shimizu's crystal-clear articulation in its sweeping ascending arpeggios was matched by his big sonorous gestures, which goes to the quintessential heart of Beethoven. Unsurprisingly, this same physical and visceral approach was applied to his Sonata No.23 in F minor (Op.57).

This is the mighty Appassionata Sonata (again, not nicknamed by the composer) where every chord was weighted like a pugilist's punch, with alternating moody brooding and angry outbursts in equal measure. Some respite was provided in the slow movement's variations, merely paved the way for the finale's furious study in perpetual motion. Shimizu's every ounce of reserve was poured into this passionate (hence the nickname) struggle, with the music and its fiery rhetoric coming out tops.

The second half was occupied by Mussorgsky's Pictures at an Exhibition. Concert-goers might be familiar with Ravel's technicolor orchestration, but the Russian composer's original conception is not daubed in mere monochrome. There is much shade and nuance to be found by a creative soul and resourceful pianist. A bell-like resonance was announced in the opening Promenade, and that was the tread to be adopted in Shimizu's flavourful reading.

Each movement was well-characterised, from the grotesque Gnomus with knocked-knees, a soothing troubadour's song by The Old Castle, an elegant rather than fidgety Ballet of the Unhatched Chicks to the hawkish hagglings at the Marketplace In Limoges. Even in the sepulchral Catacombs and Among The Dead In The Dead Language, an acute sense of sonority and awareness of its infinite variety dominated the proceedings.

A fearless headlong dash through Baba Yaga's Hut On Fowl's Legs and the grand carillons of The Great Gate of Kiev all served to confirm this as a masterly reading, rather than a routine or serviceable one. The encore was also by a Russian. Tchaikovsky's lyrical salon favourite Valse Sentimentale was a delightful panacea for the ears after an evening's fill of pianistic passion.

HRISTO DOBRINOV Flute Recital / Review

HRISTO DOBRINOV Flute Recital

with Loo Bang Hean, Piano

The Japanese Association Auditorium

Sunday (15 February 2015)

This review was published in The Straits Times on 17 February 2015 with the title "Showcase of Romantic flute repertoire".

The Bulgarian Hristo Dobrinov has been Principal Flautist of the Malaysian Philharmonic Orchestra since 2005. Besides his orchestral responsibilities, he has been busy as a pedagogue and solo recitalist. His recital at The Japanese Association was a showcase of the richness of the Romantic flute repertoire, with an emphasis on the famous French school.

Philippe Gaubert's Nocturne & Allegro Scherzando hailed from the era of the Belle Epoque, when lyricism and sensuality of sound production was paramount. Dobrinov's clear and limpid tone was soothing to the ear, and his long lines charmed, before traipsing into the ensuing scherzo of elfin-winged lightness.

Similarly sinuous was the melodic line in Hungarian Ernö Dohnanyi's Aria (Op.48 No.1), where its aural beauty came in tandem with an unusually syncopated piano accompaniment which modulated through a multitude of keys. This unseeming asymmetry added to the appeal of the piece.

The most modern work on the programme was Henri Dutilleux's Sonatine, with its three varied sections shrink-wrapped into a single continuous movement. Its chromaticism was alluring, teasing but never straying into atonality. Within its heart was a core of song-like beauty, which was fleeting at best before racing off into a kinetic and mercurial finish.

In Paul Taffanel's Fantasy on Der Freischütz, popular themes from Carl Maria von Weber's opera were spun through a mill of seemingly unplayable technical devices. This was fairly typical of the unabashed virtuosic French flute-maitres of the 19^th and early 20^th century, but Dobrinov more than coped with its physical exertions; he made it sound like good music.

The second half was devoted to one work, Richard Strauss' Sonata in E flat major (Op.18), originally composed for violin. Because of their similar range, the parts of many violin and flute works are interchangeable. The secret here was to make one forget the absence of strings, and Dobrinov succeeded in his energetic account, aided by a big but pleasingly mellow tone.     

The piano part in the outer movements is plethoric and arguably more difficult, but Malaysian pianist Loo Bang Hean provided excellent support despite encountering pedal problems on the Yamaha grand piano. This resulted in parts of the tender slow movement and the louder bits sounding overly percussive.

Nevertheless, true musicianship prevailed through these spells through to the heroically striding finale, which provided for a grandstand conclusion. As an encore, an unrehearsed Schumann Romance provided a gentle balm to close a rewarding evening of fine music.

MARI FUJUWARA Cello Recital / Review

MARI FUJIWARA Cello Recital

Japanese Association of Singapore Auditorium

Sunday (24 February 2013)

This review was published in The Straits Times on 26 February 2013 with the title "Sweet finish for Japanese cello recital".

The Japanese community in Singapore, much like their compatriots back home, have a strong tradition of supporting Western classical music. The small auditorium of the Japanese Association of Singapore at Adam Road was filled close to capacity for the recital by Mari Fujiwara, one of Japan’s most respected cellists.

A top prize-winner of the Tchaikovsky International Cello Competition, and student of Hideo Saito, Mstislav Rostropovich and Pierre Fournier, Fujiwara’s playing reflected her illustrious pedigree. The recital began with not one but two performances of the Prelude from J.S.Bach’s Cello Suite No.1 in G major.

The difference was that the second time was accomplished without the cello resting on its end-pin or spike. Held nearer the body and played in a slightly crouched position, she was demonstrating a style closer to the baroque tradition. With this, she produced a more intimate sound from her prized Guarnerius del Gesu, which sung with a distinctly mellow timbre.

Presumably because this was a more difficult stance to maintain, she performed Bach’s Suite No.2 in D minor in the usual posture. No matter, it was equally beautiful in that she let the music in its six movements speak for itself. Hers was an unforced virtuosity, never mannered nor striving for effect, with the seeming effortlessness of breathing. Minimal vibrato was employed, which was in the spirit of the times.

The element of dance was keenly felt, the tempo quickening for the Allemande and Courante, while broadening for the slow long-breathed Sarabande. The Minuets could have been more playful, but the rhythmic pulse of the final Gigue closed the sublime work on a spiritual high.

The disproportionately shorter second half comprised four considerably lighter works. In Saint-Saëns’s The Swan and Fauré’s Sicilienne (from Pelleas et Melisande), sensitively accompanied by Malaysian pianist Loo Bang Hean, a gorgeous vibrato came to the fore.

Her view of Kreisler’s Liebesleid, taken rather briskly, with several more shades of gaiety than sorrow, and the concert proper closed with Simon Nicholls’s Cakewalk, polished off in an insouciant ragtime rhythm. The duo offered two encores, a Japanese song transcription and Elgar’s evergreen Salut d’amour. 

Every member of the enthusiastic audience was given an autographed programme and a stalk of orchids. That was a nice touch for sure, but the friendly, well planned programme and lovingly played music was reward enough.   

JOSEPH BANOWETZ Piano Recital / Review

JOSEPH BANOWETZ Piano Recital

Japanese Association of Singapore

Tuesday (7 August 2012)

This review was published in The Straits Times on 9 August 2012 with the title "Banowetz's lesson in musical history". 

Almost everyone knows that the thousands of piano students in Singapore can play their set pieces well and score distinctions in piano examinations, but how many are actually aware of the history behind the works and their composers? Knowing and understanding the traditions of musical composition and performance is vital in making a connection with the music and unlocking its innumerable secrets.  

One could do worse than to attend a lecture-recital by American pianist Joseph Banowetz whose musical pedigree is steeped in tradition. After all, the 76-year-old sage was a student of Carl Friedberg, who studied with Clara Schumann, and of György Sandor, Bartok’s most famous piano pupil. He spoke as much as he played, and every word and note was eagerly lapped up by all who attended.

He introduced the name of Alexander Siloti, student of Liszt and cousin of Rachmaninov, and opened with his transcription in B minor of J.S.Bach’s little harpsichord Prelude written for his son. What a gem it was, first highlighting repetitive figurations on the right hand, and then a melody magically appearing in the left hand played with the thumb. By way of contrast, huge chords, octaves and cathedral-like sonorities dominated another Bach Prelude transcription, this time in G minor and conceived for organ.  

The next two works were in C minor, first Mozart’s Fantasy K.396, completed by his pupil Maximilian Stadler, and Beethoven’s better known 32 Variations. Unlike the hurried barnstorming accounts often proffered by young virtuosos, Banowetz clothed these in an intimate sound and displaying distinct latitude in tempos. The Beethoven was stately and particularly well-shaped, with each successive variation deliciously fleshed out.  

Banowetz, ardent champion of unknown repertoire, then gave the Singapore premiere of Anton Rubinstein’s Akrostychon in A flat major (Op.114 No.2), a delightful little morsel of tenderness and a burning inner passion. 

The twin-towers of the Romantic piano tradition were not neglected. Before performing Chopin’s Funeral March (from the Second Sonata), Banowetz related the spooky story of a tuberculous Chopin who saw apparitions whenever he played this number, and when Arthur Rubinstein performed the same for his friends, one of them would mysteriously die shortly after.

The anecdotes flowed unabated and two hours passed very swiftly. There was enough time for one of Banowetz’s specialities – Franz Liszt. His Third Hungarian Rhapsody was a one-man-band display of the gypsy tradition, with the piano imitating the repetitive tremolos of the Hungarian cimbalom. Banowetz could have played all night, but the musical history lesson had to come to an end sometime. The good news is the last of the “three Bs of Liszt playing” (the others being Bolet and Brendel) will be returning next year.       

Joseph Banowetz had to sign a lot of autographs post-concert.

Joseph Banowetz with the organising committee of the 1sr Ars Nova International Piano Competition.

This concert was presented by MW Events Management, as part of the 1st Ars Nova International Piano Competition.

High Tea by the Japanese Association of Singapore

Japanese Association of Singapore High Tea & Recital
with Hiroyuki Yamaguchi , Violin
& Loo Bang Hean, Piano
The Bar @ The Regent Hotel, Tomlinson Road
Saturday (2 July 2011)

The musical society of the Japanese Association of Singapore (JAS) regularly organises high tea, graced by some of Japan's top musicians whenever they visit Singapore. This Saturday afternoon, the guest artists were Japanese violinist Hiroyuki Yamaguchi (Concertmaster of the NHK Symphony Orchestra) and pianist Loo Bang Hean, who performed an enjoyed 45-minute recital.

Yamaguchi-san has a very full-bodied and lovely tone, and who does not shy away from violin pyrotechnics. He was ably partnered by Ipoh-native Loo Bang Hean, one of Malaysia's top pianists. Their programme was as follows:

BEETHOVEN Kreutzer Sonata, Op.47 (1st movement)

DVORAK Humoresque
KREISLER Rondino on a Theme by Beethoven
KREISLER La Gitana
KREISLER Danse Espagnole (after Manuel de Falla)
SARASATE Zigeunerweisen
PAGANINI Cantabile

One looks forward to more cultural events from the Japanese Association of Singapore, one of the biggest supporters of good music in the community.

A segment of the very attentive audience.

The artists receiving much-deserved applause.