HK Phil/Yuja Wang

Date: June 13, 2015
Location: Hong Kong Cultural Centre, Hong Kong.

Mozart – Piano Concerto No. 9
Beethoven – Symphony No. 3

Hong Kong Philharmonic
Jaap van Zweden (conductor)

Yuja Wang, who has cultivated an image of a fiery pianist conquering with ease every finger-breaking Russian piece available to mankind, is not known to be an interpreter of Mozart. On this occasion, she showed why she was not: her playing was somewhat distanced from the composition, and her reliance on the printed score in front of her, no matter how infrequently she referred to it, seemed to hinder her interpretation of the music. Conductor Jaap van Zweden indulged her further with the luxury of the occasional ritardando that could irritate Mozartean purists. Climactic passages came off sounding too contemporary and edgy for Mozart’s time. The ebb and flow of Mozart’s cadences reminded us more of Schubert’s wandering journey to death, or of the hypnotic flow of Brahms’ love poetry, than of the mature, steady classicism that a mid-career Mozart was supposed to offer. That said, Alfred Einstein would have agreed that this particular Mozart, with its impetuous and glorious tendencies, was far ahead of its time. Perhaps that was what Wang was going after here, but the end product, if not also the manner in which the output was produced, was rather unconvincing. Wang’s two encores – Horowitz’s Carmen variations and her variation of Rondo alla turca – were memorable in the sense that she was unabashedly relentless in showing off her fingering skills and not much else. When tempo seemed bottlenecked by impossible fingering, her finger would flash faster, with even more fiery brilliance. Between plenty of flashy displays of technique and speed, there was very little musicality to speak of. After intermission was Beethoven Third, the piece that Einstein found etymologically comparable to Mozart’s concerto. The orchestra’s intonation this evening was accurate and focused, and the musicians seemed to genuinely enjoy making music together. The brass section could sound a little too brash, or the strings a little too golden (perhaps too much Wagner recently?), but the output’s overall focus and balance must be commended with no reservation, especially as compared with the Philharmonic merely a few years ago. That said, van Zweden’s approach to Eroica failed to live up to heightened expectations. Narrative power is required of the piece which is essentially a totemic embodiment of Beethoven’s idealistic hero. Van Zweden’s execution this evening seemed to favor transient dramatic brilliance over narrative dramaturgy. The result was an Eroica beaming with occasional brilliance but lacking an interpretative voice, in much the same way that Wang’s concerto performance occurred with sparks but without having much to say.

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One comment on “HK Phil/Yuja Wang

  1. […] Beethoven first premiered Fidelio at Theater an der Wien in November 1805, a few months after he debuted (in April) his Third Symphony, in the same hall. The two pieces, written and presented at a time of Napoleon’s dramatic rise, represent a coherent vision of Beethoven’s political ideology: Fidelio exhibits the composer’s great passion for the common man’s liberty and freedom, while Eroica presents a hero who champions democratic and anti-despotic ideals. Both pieces require, in my opinion, a similar structural understanding of this ideological subject matter, the execution of which probably prefers an overarching ensemble control and orchestral narration over bursts of fiery brilliance. Here, Tilson Thomas found the sort of steady nobility and control that van Zweden, in his Eroica a fortnight ago, lacked. […]

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