Hindsight is 20/20, Retrospection 5/7
Allow me, dear reader, to indulge in a section of self-reflection and wanton criticism of a very privileged group of humans, of which I (believe I do) have the luck to be part of. There are many who learn music as part of their parents’ will, as a secondary to the expanding middle class, as a consequence to school activities and other “requirements”, or for the most fortunate – out of their own impetus, resources allowing. There are a select few who stick to their guns, either by choice, circumstance, or force. Then amongst this miniscule sand-grain in a seaside of normal beach lies the awkward few who keep going despite the muscular waves of modern society, money, et cetera.
Of those that do not opt for a music-major first qualification, some do a “professional” or “useful” degree, (some then work to save cash), then embark on their second music degree afterwards. Out of these precious few crystals, one has taken the long, scenic, and scholarly path that has led him to pursuing a post-grad Doctorate at the University of Maryland.
Out of his busy schedule, Ryan Chow, a (literal) contemporary of mine (also, classmate for a few days), has taken the time to sow the soils of his homeground, performing a full-length recital centred on a theme worthy of its title: neo-baroque music, neoclassicism, retrospectivism.
IN RETROSPECT: THE ROAD TO NEOCLASSICISM
Pianoforte Ryan Chow
2 January 2016 . Sat
Esplanade Recital Studio
Bach-Busoni Chaconne from Violin Partita No. 2 in D Minor, BWV 1004
Edvard Grieg Holberg Suite, Op. 40
Alfred Roussel Trois Pieces Pour Piano, Op. 49
Dmitri Shostakovich Prelude & Fugue in A minor Op. 87 No. 2
Felix Mendelssohn Prelude & Fugue in E minor Op. 35 No. 1
Paul Hindemith Sonata No. 3 (1936)
Encore: Bach-Busoni Organ Toccata in C major BWV 564
Opening to a full-house with the towering Chaconne, a stalwart crafted from a repeating foundation of chords, Ryan set off detailing a wide range of characters in avenues not accessible by stringed instruments. Despite some runs being muddled by the acoustics of the hall and an occasional slip, the stylistic choices and soundscapes created more than justified the transcription, as though the pianoforte made the work its own.
The Holberg Suite – what can this string player of a writer say? It is traditionally a work first encountered in student ensemble days, its neo-classical/neo-baroque underpinnings blissfully ignored, and the Norwegian flavour buried in adolescent worries. Upon observing a live performance of the work in its entirety, this writer was finally enlightened and convinced of Grieg’s stature. This time, in its original form, the Praeludium and Rigaudon sparkled with arpeggiaic and contrapuntal efferversence.
A caveat about the sandwiched slow movements (and a plea towards instilling carefully considered rubato), namely the Sarabande and Aria – I would credit the string arrangement with injecting depth and heart into their lines, and thus strongly urge any keyboard player to thoroughly study the string version (and vice versa) and thus add much more gut to their ivories.
Out of the frying pan and into the proverbial fire, this writer exited his comfort zone only to be dispensed a torrent of apparent frivolity in Roussel’s Trois Pieces, at once fantastically enjoyable and beguilingly indecipherable. A mash of styles and its apparent (local) paucity of performances lent itself to its position as the first curtain closer for the night.
The intermission was barely time enough to catch one’s breath, as the second opener was a bold, and very (serious) Mendelssohnian Mendelssohn (think Violin Concerto, String Octet, Capriccio and Quartet op.44/2). Unsettling in its undercurrents, at once yearning and self-despising in its lines, it was more cause of introspection given the oft-used modern lens that images Mendelssohn commonly in frivolity and sardonically fleeting passions. Ostensibly inspired by Bach, it is poignant to note that its history of creation is in itself a meta-description of its neo-baroque origins, its different segments possibly being crafted across over a decade, yet sounding quintessentially Baroque, Classical, Romantic, and almost Jazz-like/20th-century in its exploratory moments. Acoustic- and pedal-problems aside, its heart-rending, timely ascension to E major might have near done justice to the sense of triumph such an undertaking truly was.
Juxtaposed against a juggernaut, Shostakovich’s ingeniuty afforded both performer and audience barely three minutes, but left all in serious shortage. This writer can only provide an online resource to one of the greatest Shostakovich performers as penance to you, dear reader.
Finally, bringing to full circle amidst the accented academic slant of the entire programme, Hindemith’s big and clear work was settled on as the fat lady of the night. Stately, robust, cheeky, overarching – Ryan ran the gauntlet and (later humbly declared) Hindemith gave him a good run for his money. This writer doesn’t have better ears, for better or worse, and it was wunderbar as far as he was concerned.
– and if taking it full circle from Baroque to 20th century wasn’t enough; and if this writer breaks more than one cardinal rule per sentence, Ryan brought on a Bach-Busoni finisher in C, originally written for the organ. This writer will avoid commenting on this instrument for fear of looking the fool, but a hearkening to the grand dame of the Western keyboard truly and inevitably nailed the endpoint home.