February 26, 1999

A spirit of undogmatic individualism and obvious confidence pervaded pianist Wendy Chen's recital last Friday. Presented by Old First Concerts and the Chopin Foundation Council of San Francisco, her program was that of the Romantic repertory virtuoso. That Chen is a talented artist with the promise of a very major career was evident from the outset.

The three Bach-Busoni Organ Chorales (the piano transcriptions) call for a decisive commitment to Busoni's rather than Bach's notion of organ sonority. An ultra-rich density of sound and a thickness of texture with due appreciation for the music's expansiveness informed Chen's performance. There was nothing emotionally tentative or pious about her approach as Chen evoked deeply religious feelings in the setting of Old First Church. There was a sense of reverent celebration in Nun freut euch, lieben Christen. Wachet auf, ruft uns die Stimme and Nun komm der Heiden Heiland, which were played with exquisite balance and control of sonority.

Chopin's Andante spianato and Grand Polonaise, Op. 22, however, had more bristling energy from the pianist than the music could contain. The opening was too brightly lit and lacked shadows. At the same time, the brash, exciting luster of Chen's pianism is both remarkable and beautiful. Her personal stamp was very much on the music. However, her playing would be even more poignant if she could find and simply go with the flow rather than force against the current, in an attempt to surprise the listener arbitrarily.

Four pieces from On an Overgrown Path by Janacek were graceful magic that could come from no other composer. Chen's pianism was evocative and simple in Our Evenings, A Leaf Blown Away and Come With Us. Her dark and uniquely phrased The Madonna of Frydek was affecting and deeply felt.

The extreme structural and pianistic demands of the Rachmaninoff Second Sonata, Op. 36, were boldly met. Chen's straightforward approach never lacked for musicality, and only occasionally was there too much honey in the beehive. The first movement, Allegro agitato, contains a sublime second theme that needed more delicacy and simplicity to differentiate it from the conflicted phrasing and rhythm of the opening theme. Chen played with attention to detail and suppleness in the Non allegro second movement. The gorgeous tonal shading and haunting atmosphere that she created was dramatically and abruptly shattered with the opening octave of the Allegro molto third movement. The emotional pull and tightly focused rhythmic drive of Chen's performance was nothing less than stunning. Playing that is this genuine and fresh-sounding is hard to come by these days.

(John McCarthy is a pianist and teacher. He is Director of Preparatory and Extension Divisions at the San Francisco Conservatory of Music.)

©1999 John McCarthy , all rights reserved