Piano Sonata in C-Major K330
Mahler
Anticipation, excitement, and yet a degree of solemnness. Last night, history was made by a wonderful collaboration between the University of Washington Symphony and the Seattle Symphony orchestras for the very first time, performing the all-time great Mahler Symphony No.1. With tremendous energy, vigor and picturesque texture to the piece, and the enormous passion out of the batons and the petite body of Maestro Peter Eros - a 76 year-old conductor and music professor, the performance embraced the audience across the hall. From pre-schoolers to retirees, music students and teachers of all colors, all with the utmost genuine appreciation of classical music and the Mahler spirit. I was speechless, and I wish I could come up with more than just 'Bravo' when applauding to such an emotional rendition.
Mozart
The evening actually commenced with feature native Japanese pianist Rie Ando partnered with the UW Symphony. Ando, a doctorate student at the UW, gave us an astounding Mozart, one of the most lyrical, transparent and introverted interpretation of Mozart's Concerto in D-minor I can recall. I am not sure if i personally prefer this interpretation, but it was credible in that it unveiled new facets of the work which, in turn, responded even to so blatant a deviation from the conventional perceptions. Here it was served to us in a concerto usually regarded as heroic, romantic, and even Beethoven-like. I, however, cannot recall a more anti-Beethoven performance of this work. There was a dream-like and rare beauty which Ando extracted from the piano. While the audience was captivated by her slender fingers dancing across the keyboard with elegance and confidence, a frown was starting to appear on my face. Her posture was rigid; her hand/arm movements on and off the keyboard were deliberate and even pretentious; her face was ice cold. It was almost painful to be enjoying this music with my eyes open. There was no show of passion and any spiritual connection to the piece as every note was so carefully and flawlessly executed. Every stroke was cautious and calculated. I mentioned 'introverted' above and YES, it was to the extreme where all emotions were held internally. Well if there was any, the emotions are just always half second behind the motions, constantly catching up. How much can she hold in her skinny shell, really? But it was not just Ando. Across the stage, almost all of the Asian musicians had the same display, or non-display, of what i consider to be the most critical ingredient in musical literacy - PASSION. What's in our Asian blood (sorry, i am really not racist; i am asian too)? What's with Asians seeing music as such a robust discipline and not willing to let themselves go? When you step on the stage, this is not your music lesson and your music teacher is not standing there waiting to whack your fingers with a stick. This is the time to speak in a language that no one fails to appreciate. You showcase in front of thousands what you discovered in this language that they may not. Where is the joy? Where is the fun? What is art when there is no passion? Reach out for the darn thing, grab it and embrace it dammit! Hold on to it tight 'cause that's what makes you special. Mama is not going to disown you if you missed a key!
The Asian Genius
Look at Lang Lang. He defies all rules and formulas. He performs with a remarkable outburst of power and outpour of passion in every piece. Every note suggests his body cells merging into the keyboard; the piano and the master become one. His vigor and enthusiasm draws electricity to under your skin, stimulating creative imagination on an emotional roller coaster. No one else today offers a better display of PASSION in classical music performance. No one else gives a better performance, period. He holds your breath, stops all conversations, pauses your blinking, and the whole world almost comes to a standstill when he plays. He raises you off your seat; he raises himself. Genius Lang Lang.
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