Tuesday, June 12, 2012

Yinuo Qian: Duo Recital

Listening to Yinuo Qian speak about her music and then play three pieces for the PianoArts crowd was one of the more surreal, yet amazing, experiences I have ever had in music. During the little speaking-times that go in between pieces, while music stands and chairs are being moved on and off the stage, you hear a soft-spoken, rather laconic girl who sounds kind of shy. Then she adjusts the piano bench to the proper height, sits down and launches into Serge Prokofiev's Sonata No. 6, or Brahms's Sonata for Violin and Piano, and it's loud and bold and absolutely scorching. For those in the audience who missed their morning coffee, that wakes you right up... and even when I was applauding and saying "Wow!" at the end, in the back of my mind I was thinking Where on earth did that come from?

I guess I shouldn't have been caught off guard, though; others have pointed this out long before me. Qian's program notes speak of an orchestra member who wrote "Yinuo Qian is a pianist with fire and passion." And how. After the fast start, Qian played very softly and lyrically for much of the Prokofiev, showing some flair on the complex crossovers of the piece, of which there appeared to be hordes. The Prokofiev made me think of storm clouds and rain over a lake--just as I wrote that down, there was even some plinking near the top of the piano that greatly resembled rainfall--with lots of thunder-like crashing chords. 

After the Prokofiev came the Brahms, where Qian was able to play with the distinguished violinist, and associate principal of the Milwaukee Symphony, Illana Setapen. I've heard some violin-piano duos that sound like conversations (or worse, arguments), but this was more like Qian and Setapen were telling a story together. Qian seemed to be playing in a more restrained fashion in the duo, and her sound became much more melodious with Setapen alongside. The two artists appeared to feed off each other well; in such aspects as tempo or volume changes, they sounded very in sync with each other. Setapen and Qian were comfortable together in both the louder and softer parts of the piece, which was a pleasure to hear.

Qian's last piece, Mozart's Concerto No. 27, was made possible by pianist Stefanie Jacob and her impersonation of a symphony orchestra by way of a piano arrangement. Partnered up with Jacob, Qian showed a sprightly side to her music, as they traded right-hand piano vignettes in one long, difficult-sounding passage. There was a lot of sparkle to her sound in that piece; part of it was of course Mozart's score, but she really brought it to life.

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