SummerFest First Beethoven Installment Date:2007-08-08
 

Why No Nonet? SummerFest First Beethoven Installment
By Kenneth Herman, San Diego Arts,  2007/08/08

Who could complain about a concert of music devoted to the earliest works of Beethoven? What we now call the “classical” style of Western music had ripened deliciously in the mature works of Haydn and Mozart, and when the aspiring German composer from Bonn (the sticks) made his musical debut in Vienna (the musical capital of Europe) in 1795, he was determined to show just how brilliantly he had mastered this suave musical language. Tuesday evening at the La Jolla Music Society’s SummerFest, we were treated to a concert devoted exclusively to Beethoven’s “boy, I’m going to impress the heck out of those snobby Viennese swells!” compositions.

Appropriately, SummerFest music director Cho-Liang Lin chose the Piano Trio in E-flat Major, Op. 1, No. 1, to launch Tuesday’s program. Wasn’t it Oscar Hammerstein II who opined that starting at the very beginning “was a very good place to start”? Of course, the historians never tire of reminding us that Beethoven had composed quite a number of works before his Op. 1, No. 1, but this Piano Trio was the piece the composer himself decided to call his No. 1 piece, his first musical salvo meant to conquer the Viennese public. So, those other early and unnumbered concertos and sonatas were just the pale, undercooked pancakes he tossed away before the griddle was hot enough to make a really good one!

The E-flat Piano Trio, a particularly sunny, extroverted piece that can flatter both the listeners’ savoir faire and the performers’ technical prowess, featured a stunning young pianist, Weiyin Chen. Her keyboard touch proved consistently firm, meticulously balanced and tastefully assertive, and her sense of phrasing lucidly energetic. She imbued each movement with
appropriate vitality, but never pushed the tempo in a fit of youthful exuberance, which might
have been easily forgiven. If she drew too much attention to herself, it was because the cellist Marie-Stéphanie Janecek was too cautious in her participation, and violinist Joanna Frankel projected an uncertain, unfocused voice in the trio. In quieter moments, e.g. the Adagio cantabile, Janecek’s subtler timbre and elegantly-shaped line were indeed wise musical choices. But, at least to this listener’s ear, Ms. Frankel spent too much time treading water, seldom catching the direction of phrases and dissipating the energy of the other players.

Translation
為何沒有九重奏?
夏日藝術節第一場貝多芬音樂會
作者 Kenneth Herman, 聖地牙哥藝術報, 2007/08/08
貝多芬的E大調三重奏是首明亮、外放的曲子,討好行家聽眾,也可展露演出者的高超技巧。令人驚豔的年輕鋼琴家陳偉茵,她的觸鍵始終穩當、平衡感一絲不茍、掌控能力極為優雅、樂句處理流暢而充滿活力。她的每一個樂章都充滿生命力,但又從不會把速度彈得過快而無當,這是一般年輕音樂家常有而被忽略的現象.

 
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