An edited version of this review was published in The Straits Times on 23 January 2014 with the title 'Bassoon and Piano in Passion Play'.
PIANO AND BASSOON RECITAL
Aw Yong Tian, bassoon; Chenna Lu, piano
Esplanade Recital Studio
Tuesday
Although there have been a growing number of woodwind
musicians in Singapore, solo recitals are still rare, and bassoon recitals are
few and far between. Understandably so too, for it is difficult to programme an
evening of bassoon works and keep the audience engaged for the entire duration.
Thus, Aw Yong Tian and Chenna Lu
took the opportunity to organise a combined recital featuring both the bassoon
and piano.
It seemed only fitting for two graduates from the Munich
University of Performing Arts and Theatre to play music in the Germanic tradition, and
repertoire for the recital consisted mostly of works from the early to
mid-nineteenth century.
The first movement of Mozart’s Bassoon Concerto, arguably
the most studied piece in bassoon repertoire, proved a delightfully playful
opening. Selecting a rather fast tempo, Aw Yong effortlessly handles the passagework
with clarity, maintaining the light
texture and crispness of rhythm and articulation.
Aw Yong was then joined by Zhang Jinmin, principal bassoonist of
the Singapore Symphony Orchestra, in J. B. Wanhal’s Concerto for Two Bassoons,
more than ably accompanied by Lu. It was a pity that the two bassoons only
fully warmed up to each other towards the end in the cadenza. Later, however, both
bassoons jested and sang, showing off the lyrical and comical characters in
three arias from Rossini’s opera, the Barber of Seville.
In between the duets, Lu took the spotlight with a dramatic rendition of Beethoven’s Appassionata
Sonata. The outer movements were powerful, but an underlying sense of
impatience and agitation pervaded her playing; this was especially evident in
the middle slow movement. Fearless and formidable, Lu also thundered through
Mendelssohn’s Op. 28 Phantasie and Kapustin’s jazzy First Etude from the Op. 40
set.
From the tender beginning to the fast and fiery finale of
Schumann’s three Fantasy Pieces, Lu seemed to play her best when she played
together with Aw Yong, the duo giving an impassioned rendition. As the applause died down, the audience
was rewarded with an arrangement of Piazzolla’s Oblivion for two bassoons and
piano. Although somewhat hurried, it provided a pleasant ending to a
well-thought out programme.
Labels: Aw Yong Tian, Bassoon, Chenna Lu, Concert reviews, Piano