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RECITAL REVIEW
A Pianist Capturing Much But Not All
February 9, 2001
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By William Wellborn
As is appropriate for a prizewinner of the American Chopin Competition, Hiroko Kunitake chose an all-Chopin program for her San Francisco debut at Old First Church on Friday. Her performance revealed a polished and refined pianist, a fastidious musician who listens and balances the music with care and taste, an honest and straightforward player, unmannered and direct in musical approach.
Kunitake excelled in moments of fleet-fingered virtuosity without ever turning the music into a display for her impressive technical facility. Moments requiring grandeur and depth, however, often went unexplored. Deeper moments of expression were infrequent. A feeling of musical pleasantness prevailed, not a bad thing in itself (and certainly preferable to the alternative!), but on more than one work we arrived at the end without having traveled the musical road to its fullest.
The technical difficulties of the ever-popular Ballade No. 1 in G Minor held no problems for Kunitake, and there were many impressive moments. As elsewhere on the program, I sensed that though she has a firm grasp of musical structure and a tasteful sense of proportion, Kunitake seems unruffled by the darker aspects of the work. Climactic points were hurried over, with the pianist going for less than full emotional value. I missed the epic quality inherent in this music. The ultimate effect was somewhat perfunctory.
On the other hand, the Three Mazurkas, Op. 59, were anything but that. From the first measures of the A Minor Mazurka, Kunitake beautifully captured the music's haunting quality. The second mazurka (A-flat Major) exhibited grace and elegance, along with a wistful sensitivity that was deeply affecting. The final mazurka of the group (F-sharp Minor) proved to be uneven. There were many felicitous touches of color and nuance, along with moments when the music seemed rushed and needed a bit more room to breathe. Still, there was much poetry here, and it was clear why Kunitake won that American Chopin Competition prize. The first of two works in E-flat major concluding the first half, the Waltz, Op. 18, is in Chopin's more brilliant style, not a deep work, but full of charm. Kunitake's admirable finger clarity and sense of style served the Waltz well, but the music still seemed earthbound. I never really felt like dancing.
The ethereal Andante Spianato and Grand Polonaise, Op. 22, received a delicate, loving treatment that was noteworthy. Here, Kunitake exhibited a beautiful singing tone and a lovely shaping of the melodic line, with a gossamer pianissimo touch that recalled descriptions of the delicacy and nuance of Chopin's own playing. More grandeur was wanted in the Grand Polonaise, and details were often rushed over, but there were also moments of elegance and charm and more than enough brilliance in the pianism. Kunitake gave a solid performance of the great Sonata in B Minor, Op. 58, the sole work on the program's second half. She captured many, if not all, of the music's high points, although the vast emotional canvas of this work was not discovered to its fullest, and the lyrical moments were often more successful than the dramatic elements. Her overly aggressive approach to the first movement's big sections failed to capture its noble and more majestic qualities. In contrast, the lyrical second subject was played with tenderness and beauty. The second movement is tailor-made to Kunitake's skills. The fleet passagework flowed beautifully and effortlessly, and the introspective middle section was beautifully shaded and phrased. Kunitake's approach to the third movement was individual: Instead of the more traditional, noble approach, Kunitake presented an intimate, private expression, beautifully shaded and touching. Even if the effect was more pretty than truly deep, it was a valid interpretation. There was, however, nothing unrewarding about Kunitake's brilliant performance of the final movement. Her propulsive rhythmic drive and impressive finger agility were just what the music demanded. It was the most exciting portion of the evening and provided a thrilling conclusion to the concert. If there were moments during the concert that failed to provide the ultimate sense of musical fulfillment, there were also many fine moments, and I could always be grateful for the poise and taste of this talented young musician. (Pianist William Wellborn performs and lectures in the United States and Europe, and from 1995-97 was host of the program "Piano Legacy" on San Francisco station KDFC. Wellborn is on the faculty of the San Francisco Conservatory, where he teaches courses in piano, piano history, and opera.) ©2001 William Wellborn, all rights reserved |