Playing Rachmaninoff, Janaček, Liszt and Australian composer Elizabeth Younan, pianist Joyce Yang displayed her refined musicianship and dazzling technical prowess across a varied programme. What is so striking and rewarding about the purity of this performer’s musical maturity is her innate sense for accurately communicating the emotional and structural architecture of works in a strikingly direct manner to the audience.
Bravura passages amongst the beautifully bold and searching statements in Yang’s pianistic voice were delivered in stunningly smooth swoops. They maintained at all times a fresh and sizzling spontaneity in the environment of her eloquent storytelling. There was a high level of clarity and straight forward carving out of landmark classics from the repertoire in this concert. Works on the programme which are more rarely heard on stage were equally accessible and given clear performances to those hearing them for the first time.
Central to the programme was the texturally and emotionally demanding economy of Janaček’s two movement Piano Sonata ‘1.X.1905’. From this concise and vivid interpretation of heartbreak, as effectively explained by Yang pre-performance chat, the other works in the recital flowed in stylistic retrospect. In the case of Younan’s sonata, the brand new work spoke with equally well – voiced statements as the more familiar music greeted us.
Yang’s skill in separating dense textures and intelligently discovering a work’s impetus and expressive agenda also contributed to the successful world premiere of Elizabeth Younan’s Piano Sonata. This promising and expansive work was celebrated thoroughly by Yang. The sonata’s innovative approach to motivic development and keyboard possibilities for the sonic events were in safe hands here. The premiere also indicated an exciting future for this composer who is soon to study at the Curtis Institute in Philadelphia.
As with Yang’s keyboard balance in the Janaček piano sonata’s slow movement, ‘Smrt’ (‘Death’), the exquisite slow movement in Younan’s piano sonata in Yang’s hands was a masterclass in prolonged stillness and beautiful tone in the voice leading. This contrast cut through previous compelling keyboard bravura to sing on a new plane as Yang placed each part of every utterance in its well graded place of organic growth.
Such talent for contrasting the narratives within works is the marker of true virtuosi. In this way, breathtaking instrumental technique can one moment almost effortlessly push their instrument to limits through passages of extreme difficulty then dazzle us with contrasting moments of high-calibre lyricism or gentle intimacy.
This approach and completeness as a virtuoso saw Yang take us on a multi-levelled journey through the varied expression which is the legacy of Franz Liszt in his herculean B minor Sonata. This work was full of Joyce Yang’s joyous virtuosity of technique and musical communication. An immense range of emotional levels and knife-edge switching between bravura and beautiful singing moments was a delight. This was also true of her playing of Liszt’s Rhapsodie espagnole, which also unfolded as an expertly constructed musical and emotional event.
From the recital’s opening we were given clear indication that Yang’s sensitivity at the keyboard decorated with technical fireworks were to reach us neatly and in an exalted yet genuine state. Strong levels of unexaggerated gestures and an ideal textural balance that never once would stifle musical expression were a constant delight to behold.
The opening trio of Rachmaninoff preludes worked well as a set. They formed an exquisitely balanced opening to the event and the earnest musical discussions to follow. The chance for us to receive the well-known Prelude in C sharp minor Op 3 No 2 at such a successful tempo and with firm but never overplayed drama was a significantly memorable kaleidoscope of stillness. Assorted filigree was once again well balanced with the core musical concerns and clarity joyously resulted.
Australia has been lucky to receive many colours and stories from this exciting pianist during the national tour. May it be the first of many extensive tours by this important keyboard voice in the years to come. Our stages need such expert performers from the current generation. Musica Viva next presents another impressive voice of the current global music scene when violinist Ray Chen tours in August.