Joan, MC for the day, welcomed everyone with a quote from pianist Hong Xiang (“Music has a transformative power to inspire and enrich.”) She also introduced Mr Ralf Dewor, Director of Bechstein at Pianofortefabrik AG.
I had forgotten to change the setting of my hearing aids before the recital but managed to do so discreetly between the 2nd and 3rd movements of Schubert’s Wanderer Fantasy. What a difference that made! My favourite movement has always been the 1st (because it’s more triumphant) but I really enjoyed the 3rd and 4th movement’s virtuosity more today with the changed setting. I also like the 2nd movement though it’s full of sorrow and sounds depressing.
The 2nd movement of Bach/Marcello’s Concerto in D Minor was played on a Seiler. Instantly, I realised that the sound produced was different from the Bechstein and it seemed to suit Baroque music better because of the sustain and resonance.
The next piece was Hong Xiang’s arrangement of Joe Hisaishi’s Spirited Away, also played on the Seiler. (The page turner was his brother Hong Jin, who would play the cello later.) I enjoyed it, finding it enchanting. I am unable to make any other comment because this was the first time I heard this tune. (Yet another example of my “dinosaur-ness”?)
Hong Xiang’s performance of Debussy’s Clair de Lune was so inspirational that my instant thought was to dig out this score and relearn it when I get home!
The last piece was Faure’s Sicilienne for Cello and Piano. I was reminded of Eddy (of TwoSet Violin) on the violin and Belle (his sister) on the piano. How lovely to have a family member as a duet partner! Somehow, the musical interaction between siblings makes the performance more heartfelt and soulful. I have never experienced such interaction with any of the people I’ve played duets with. (Unlike Brett and Eddy of TwoSet Violin; but then, their close bond is unique.)
Hong Xiang had to omit Beethoven’s Pathetique Sonata, possibly due to time constraints, as he had spent time describing/ explaining the music each time after he played a piece. (I would rather he skipped Spirited Away, but then I guess he hadn’t because it’s a shorter piece and it’s his own arrangement.) Nevertheless, I shall play Pathetique’s 2nd movement again after Clair de Lune.
After the recital, Mr Ralf gave a lecture on the evaluation of the C. Bechstein piano. He spoke at length about tone and colour, clarity, dynamics, aesthetics and balance, even quoting Debussy : ” All piano music should be played on a Bechstein”. This is the first time I’ve come across this quote; I’m more familiar with the one by Rubinstein (and many others, like Horowitz, Evgeny Kissin, Emanuel Ax, Van Cliburn, Daniel Barenboim and Lang Lang…).
As the director of Bechstein, it was no surprise that Mr. Ralf promoted the brand, but he did mention two other German brands – Steinway and Bluthner. However, he did not say which one 98% of concert halls and concert pianists prefer!
There was a lunch reception after the event. It was only then that I was told my backpack was gaping!
Goldenager 