NEWTOWN - Looking and sounding like a world class concert piano soloist, the 17-year old Remy Yuhou Zhang gave a polished gem of a performance last Sunday afternoon in a Praeludium Recital for the Newtown Friends of Music. Cool, calm and completely collected, Zhang gave a superb performance, without sheet music, aided only by his 88 assistance from Wm. Knabe & Co.
I'm not really sure what it takes to get a career as a concert pianist off the ground. Probably a combination of incredible talent and the right support system will help to propel an artist into orbit, with regular reentry back to earth between performances. Zhang undoubtedly has the talent. It'll be interesting to watch where his trajectory takes him.
He began his extensive recital diving into the deep end without a warm-up lap, playing the daringly difficult "Sonata No.21, in C, Op.53 (Waldstein)" by Ludwig van Beethoven (1770 - 1827). Once again we find Beethoven grappling with his deafness but seizing his destiny in great composition. Zhang gave a flawless rendering of the demanding piece.
The anxious monotonic rhythm in the allegro con brio had both hands working in unison in the opening theme and its restatement. As the sonata continued, Zhang's right hand ran through a flurry of trills while his left hand developed rolling crescendos of scales. Pensive, ponderous and finally giving in to a lyrical release and a fiery coda, Zhang displayed delicacy, strength, and musical maturity beyond his age.
Selecting three of the most listener friendly works by Frederic Chopin (1810 - 1849), Zhang benefited from some tried and true tunes that were sure fire crown pleasers. Etude in E Major, Op. 10, No.3" was absolutely lovely to listen to, with a graceful treatment of notes and sensitive modulation of intensity. "Ballade No. 1 in G minor, Op.23" was given impeccable handling, not that the piece needs much help, just an abundance of talent.
Climbing higher after intermission, Zhang played three relatively upbeat preludes by Sergei Rachmaninoff (1873 - 1943). The technically challenging pieces had complex themes and were deftly delivered with sensitivity and expressiveness, showing Zhang's serious side. It was a little strange to see such a young smiling face stand up and take a bow after the Rachmaninoff.
By now the audience had really warmed up to Zhang, and was perhaps a bit awestruck, and ready for the fireworks from "Two Concert Etudes" by Franz Liszt (1811 - 1886). "Waldesrauschen (Forest Murmurs)" was not an easy walk in the woods. Pyrotechnics came into view thanks to the composer's propensity for flair, and the performer's ability to deliver it. "Gnomenreigen (Dance of the Gnomes)" featured fingertips flying in a bouncy cadence, full of flourish at the finale.
The last work, "Le Tombeau de Couperin" by Maurice Ravel (1875 - 1937) was dedicated by the composer to his friends who had fallen during World War I. Zhang captured the sense of tranquility before the conflict with simple dances, brilliant colors, and smooth fluidity. An enthusiastic standing ovation brought him back for an encore, a Chinese piece "Celebration of New Life," with dazzling rhythms and Oriental tonality.
Zhang came out for the final curtain of the day call with his teacher, Edith Sullivan. I can safely predict that this won't be his last curtain call, not if talent has anything to do with it.