Date: December 12, 2015
Location: Grand Hall, Lee Shau Kee Lecture Centre, The University of Hong Kong.
Janáček – From the Street
Schumann – Kreisleriana Op. 16
Beethoven – Sonata No. 26 in E-flat major, Op. 81a, Les adieux
Scriabin – Poèmes, Op. 69 No. 1 & 2, 32 No. 1
Ginastera – Piano Sonata No. 1, Op. 22
Mozart – Rondo alla turca (arr. Volodos)
Brahms – Intermezzo No. 2 in A major
Haochen Zhang (piano)
One would assume that Haochen Zhang, who studied under Gary Graffman at Curtis, would perform with the sort of exuberant showmanship and unrestrained virtuosity that often define the performing style of Graffman’s other two star pupils from China, Lang Lang and Yuja Wang. That would have been fine, to be sure, as plenty of people are willing and happy to buy tickets to witness the perfect execution of that performing style. In this winter evening at HKU, Zhang offered a similar stomping execution, and then some. There were moments when Zhang flashed with more superficial thrills than musical sensibility, and there were other moments when tempo was modified more for frivolous excitement than for phrasal cohesion. For the better part of the evening, however, Zhang seemed singularly focused on slowly and tastefully unveiling each composer’s music, with audible evidence where he deferred to each composer’s dynamic and tempo signatures, especially in Kreisleriana and Les adieux. With Kreisleriana, Zhang collated various passages, each depicting a varying personality of Schumann’s subject matter (that would be Hoffmann’s Kreisler), with a kaleidoscopic alteration of texture. In Les adieux, Zhang provided a compelling contrast between the lyrical Abwesenheit and the more sonorous Das Wiedersehen. Whereas Lang and Wang often seem to treat the piano as an interpretive intermediary, Zhang’s approach to the keyboard this evening seemed more symbiotic, as if there is equal significance, and substance, between a willing pianist and a willing instrument. Here, the Steinway & Sons concert grand produced a gorgeous sound, with crisp tones at the upper registers and a steely support at the lower registers. Curiously, the middle sections got muffled up, especially on pedals in the Janáček. One would assume that to be an odd characteristic of the instrument. On more attentive listening, this peculiarity could (possibly?) be explained by Zhang’s tendency to overlap his transiting chords under pedal, which created a momentary whiff of cloudiness which then led to a muffling sensation. This overlap would create an incredible audible effect in dreamy music, but the non-linearity could irritate some. Elsewhere, the Beethoven could have sounded less like Rachmaninoff and more like, let’s say, Beethoven, but overall, Zhang’s meticulous and analytical effort paid off with a desirably practical amount of sincerity and authenticity. In the Ginastera, Zhang curtailed some of that analytical rendition and permeated the air with a more relaxed spontaneity. The choices for his three encores: Rondo alla turca a la Volodos, Brahms’ Intermezzo No. 2 in A major and a short Mozart sonata segment revealed not nearly as much technical notoriety as a strategy and desire to earn a reputation as a pianist with, more than just showmanship and virtuosity, a varied and versatile repertoire.