Quynh Nguyen, Piano (4/1/17)

Sonata in E major, Op. 109 – Vivace ma non troppo; Prestissimo; Gesangvoll, mit innigster Empfindung – Ludwig Van Beethoven (1770–1827)
Le Tombeau de Couperin – Prélude, Forlane. Rigaudon, Menuet, Toccata – Maurice Ravel (1875–1937)
Vingt regards sur l’Enfant-Jésus – No. 15: Le baiser de l’Enfant-Jésus – Olivier Messiaen (1908–1992)
Piano Sonata No. 2 in B-flat minor, Op. 35 – Grave – Doppio movimento; Scherzo; Marche funèbre: Lento; Finale: Presto – Frederic Chopin (1810–1849)

I’ll write and then I’ll research. The three movements of the Beethoven were not very distinct to me. The beginning was rippling, ranging from gentle to formidable (perhaps a later work?). There seemed to be an exploration of a mix of styles, with many different sections that didn’t quite come together, sort of through composed. Vindication! Composed in 1820 (maybe finished in 1821), the work is historically described as “a free and original approach to the traditional sonata form” and “particularly noteworthy for its divergence from the norms of sonata form and for its harmonic and structural innovations.”
N.B. This is from my 2012 post of the same pianist with this work: “The Beethoven barely seemed like Beethoven to begin with—the first movement oddly disjunctive, the second movement more Beethoven-esque (slightly dense, more solid)—followed by a third movement that was a bit segmented.”

The first of the five movements of the Ravel was lovely and brisk, with a definite French flair, and pretty much perpetual motion. The second movement’s distinctive tune was familiar to me, probably due to repeated hearings on the radio (though usually in an orchestrated version). The third was jaunty, reiterating some of the second movement’s themes—actually, more like expanding on them. The fourth movement had a poignant opening and a lovely ending. The Toccata was energetic and rhythmic, alternating with rippling passages, and then driving hard to the end.

The Messiaen had modern, quiet chords, including some dissonances, with a gentle feeling, even in the repeated rhythms of the chords. This was followed by a very contemplative section; a bit of an explosive section; followed by a fairly lengthy and strident section before finishing quietly. If this was No. 15 of 20, I’m not sure I could take the complete work in one setting. Maybe Messiaen’s too cerebral for me.

The opening movement of the Chopin was very brisk yet dark, settling in to pianistic fireworks both loud and soft. The second movement was dramatic, even after considering the fireworks that ended the first movement. This one was more tuneful, ending with a gentler section. The third movement is the very famous funeral march—“Pray for the dead, and the dead will pray for you.” A contrasting quiet section followed that was somewhat haunting, before a return to the main theme. (attacca) The fourth movement had brisk runs up and down the middle of the keyboard. The word ‘attacca’ means without a break, and in this case, the fourth movement not only continued immediately, it was so brief that I think it’s almost like a throwaway afterthought, as opposed to being its own movement. Then again, I’m not Chopin.

The performance was very strong, and Ms. Nguyen played all of the pieces from memory.

ConcertMeister