Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
ELEGANT VOCAL MASTERY AT ROSES SIGNATURE RECITAL
by Pamela Hicks Gailey
Sunday, February 25, 2024
Recital
DEMANDING SCHUMANN WORK IN MUSIC AT OAKMONT RECITAL
by Terry McNeill
Thursday, November 9, 2023
Recital
RARE RAVEL IN MENDO FESTIVAL'S PRESTON HALL
by Terry McNeill
Thursday, July 20, 2023
Recital
FRENCH FLAVOR IN RARE FOUR-HAND RECITAL
by Judy Walker
Sunday, January 15, 2023
Recital
ASSERTIVE PIANISM IN YAKUSHEV'S OCCIDENTAL RECITAL
by Terry McNeill
Sunday, November 13, 2022
Recital
HEROIC LIM PERFORMANCE AT STEINWAY SOCIETY RECITAL
by Abby Wasserman
Sunday, September 18, 2022
Recital
AGGRESSIVE PIANISM IN MYER'S MENDO FESTIVAL RECITAL
by Terry McNeill
Thursday, July 14, 2022
Recital
UNIQUE ELEGANCE IN GALBRAITH GUITAR RECITAL
by Gary Digman
Friday, April 29, 2022
Recital
ALLURING GLASS WORKS IN WEILL RECITAL
by Terry McNeill
Friday, March 25, 2022
Recital
FORGOTTEN BACH SHINES IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 10, 2022
RECITAL REVIEW

Pianist Ching-Yun Hu

HU'S ON FIRST, SECOND AND THIRD

by Terry McNeill
Thursday, February 13, 2014

Music at Oakmont in their eight-concert season features mostly instrumental ensembles, and rarely pianists. But when they do the pianists are pretty good. Ching-Yun Hu's performance Feb.13 in Berger Auditorium, for example, was at a first-cabin level of virtuosity.

A conventional repertoire first half included Chopin (the Second Sonata in B-Flat Minor) and Ravel’s "Gaspard de la Nuit," and the entire second part was pungent Spanish music. The Sonata emphasized the house piano’s bright treble register and was dramatic throughout. Ms. Hu took the controversial step of skipping the big first-movement repeat, and after the movement’s final doubled-down B flat chord she waded immediately into the superbly pianistic Scherzo. Here the ritards were sculpted, but the movement was played without sufficient verve or personality.

The familiar "Marche Funèbre" movement was played as slow as I have ever heard it. Ms. Hu's control here was total, as was her mastery in the splendid finale (Presto), which she played with minimal pedal, showcasing Chopin’s almost atonal sonority and chromaticism to mysterious effect.

Ravel's "Gaspard" closed the first half, and unlike Jean Efflam Bavouzet's muscular November performance at SRJC, Ms. Hu adopted judicious tempos and textures throughout this masterpiece from 1908. The flowing left-hand melody was constantly played pianissimo and evoked the fluid surroundings of the water sprite Ondine. It shimmered where it should have shimmered. The middle "Le Gibet" movement was played with a leisurely pace, lovely tone and a strong hint of mystery.

The great "Scarbo" finale was masterfully done, the finger articulation crisp and the damper pedal used sparingly. Ms. Hu alternated voices that were distinct and then hazy in this diabolic challenge to a pianist's technique.

Four works by Granados and a single work from Albéniz's "Iberia" (Book II) were played after intermission. The angst and longing of "El Amor y la Muerte" was vividly portrayed by Ms. Hu, her rhythmic flexibility and focus on interplay of voices always commanding. In Granados' "Oriental, No. 2" of the Op. 37 "Danzas Españolas," the short work was played rather roughly, the hard tone at times needed by the music and to be heard over Berger's audible HVAC system. "Andaluza" (Op. 37, No. 5) was deftly played.

Albéniz's "Triana" closed the formal recital. Here Ms. Hu played the off-beat accents and big contrasts with joy and abandon. It was Spanish splendor and brought a large ovation.

In a surprise encore selection, the pianist departed from the piquant Spanish rhythms and played one of Chopin’s greatest Nocturnes, the languorous and poignant E Flat of Op. 55. The performance was laced with grace and subtle inner voices that caught the "light beam" high E Flats in the right hand to telling effect.