Germany Numerous: Bruce Liu (piano). Efficiency of 28.4.2024 broadcast as stay (directed by Bernhard Fleischer) from Klavier-Competition Ruhr, Anneliese Brost Musikforum Ruhr, Bochum on Stage+, 6.7.2024. (ES-S)
Haydn – Sonata No.32 in B minor, Hob.XVI:32
Chopin – Sonata No.2 in B-flat minor, Op.35
Kapustin – Variations, Op.41
Beethoven – Sonata No.18 in E-flat main, Op.31/3 ‘The Hunt’
Prokofiev – Sonata No.7 in B-flat main, Op.83
Encores:
Satie – Gnossienne No.3
Chopin – Waltz in D-flat main, Op.64 No.1 ‘Minute Waltz’
Canadian pianist Bruce Liu rose to fame in 2021 when he gained first prize on the Worldwide Chopin Competitors. A number of months later, he signed an unique contract with Deutsche Grammophon. Since his victory in Warsaw, he has been acting on levels all over the world, each as a soloist with orchestras and as a recitalist. Regardless of his unqualified successes, Liu modestly declared in a current interview with Katrin Zagrosek, the director of the Ruhr Piano Competition, that ‘what occurred in Warsaw takes lots of years to digest’.
This system Liu assembled for his Bochum recital offered nice perception into his evolving path. It was undoubtedly demanding, that includes 4 compositions in sonata type that spanned practically two centuries and varied types. Every alternative was exceptional by itself. Nonetheless, the pianist didn’t convey the impression that the order of presentation, which was not strictly chronological, held any specific significance in establishing novel or attention-grabbing connections among the many works.
He started with Haydn’s Sonata No.32 in B minor, deftly illuminating each the Baroque-inspired rhythmic depth and the way in which melodical snippets foreshadow a Romantic impulse. The Menuet was elegant and clear, the contrasting Trio emphatic, whereas the Presto finale was a showcase of the pianist’s brilliantly gentle contact and technical agility.
Bruce Liu’s method to Chopin’s music clearly contributed to his success on the Warsaw competitors. For him, as a substitute of melancholy and spleen, ardour and volatility are the first traits characterizing the compositions of the Polish bard. Deciphering the Sonata No.2 in B-flat minor, he turned what Robert Schumann as soon as criticized as lack of cohesion right into a benefit, adopting a special method for every of the elements. The expressiveness of the melodic strains within the first motion was by no means overly emphasised, whereas the harmony-altering bass line persistently propelled the music ahead. An typically mysterious-sounding Scherzo embraced a Trio whose theme gave the impression to be rendered by a cello. The Marche funèbre floated between emotion and detachment. The Finale, carried out flawlessly, was a tad overly luminous, but the pianissimos nonetheless conveyed a way of eeriness.
After Chopin, Liu inserted a caesura into his sequence of sonatas, a transfer each peculiar and explainable. It was peculiar as a result of Kapustin’s Variations Op.41 diverges considerably from the sonata types thought of elsewhere within the recital, even these the place the principles of the canon weren’t strictly enforced. It was additionally odd to listen to the jovial jig someway sneak in below the lingering auditory mantle of Chopin’s Marche funèbre. On the similar time, inserting the piece subsequent to the well-known masterpiece made sense, as Liu is a powerful believer within the improvisational character of Chopin’s compositions. Just like jazz, they need to sound fairly completely different every time they’re rendered. A fantastic jazz music lover, Liu performed with effervescence all these variations, primarily based on a theme impressed by the opening bassoon motif from Stravinsky’s Le Sacre du printemps. Unencumbered by any technical issues, he explored all of the twists and turns of the rating with childlike amazement, bringing out a free-floating proper hand over the left hand’s ostinato right here, and syncopated rhythmic patterns competing with a quasi-Romantic pathos there.
Beethoven’s Sonata No.18 equally brims with exuberance. Liu successfully captured Beethoven’s apparent but not at all times convincing humor on this transitional sonata. Haydnesque reminiscences had been plentiful. The third motion evoked the picture of a kid all of the sudden turning into critical amidst his toys, and the Presto finale was rambunctious.
Prokofiev’s Sonata No.7, considered one of his so-called ‘Struggle Sonatas’, stands as one of many best piano scores of the 20 th century, a mannequin of imbuing conventional types with modernist components. Bruce Liu carried out it with irreproachable virtuosity. Nonetheless, one had the impression of listening to it via a veil which didn’t obscure the sounds however slightly the interpreter’s personal ideas vis-à-vis what the music goals to convey and the historic backdrop towards which Prokofiev created it. The sense of terror and nervousness within the first motion, Allegro inquieto, and the sharp, satirical edges of the Precipitato toccata appeared considerably smoothed over. The sentimentality and irony within the Andante caloroso didn’t at all times mix nicely, changed as a substitute with a much less outlined center floor. Actually, Bruce Liu’s interpretation(s) will solely profit from higher maturity and extra life expertise.
Liu returned to his beloved Chopin for a fragile encore, the ‘Minute Waltz’, preceded by one other delicate miniature with its personal Chopinesque allure, Satie’s Gnossienne No.3.
Edward Sava-Segal
