Congyu Wan's playing was explosive and at the same time tender. He has definitely thought about every phrase. But he does not over-shape or over-interpret. The emphasis is where it needs to be, the rubato is applied, but never overdone. The dynamics are wide, but never over-emphasised. He has a tendency with Chopin to slow the piano and accelerate the forte. In concert it works beautifully, but the approach might not get past a nit-picking reviewer on disc.
He chose to play the Chopin Nocturne and the Liszt Liebestraum together, deliberately holding off the applause at the end of the Chopin. The effect was to increase musical tension. The Denia audience was spellbound to silenece anyway! Quite memorable. The Earl Wild arrangement of the Vocalise transforms the melody into what sounds like another prelude to add to the Rachmaninov set. There’s a central section that is explosive. After that the Kreisler Libeslied sounds like a show-off piece, which is what it is, but the Rachmnaninov harmony saves it and, indeed, makes it interesting. The Gershwin preludes again sounded more pianistic than usual. Just a little research shows that Earl Wild reworked seven Gershwin Preludes – the usual performance does the three that Gershwin himself published under the title. These pieces were quite different. Highly pianistic and with recognisable melodies that kept poking through the notes. The overall effect was wonderful and simply put brought the house down.
After that, Congyu Wang then embarked on Gaspard de la Nuit. Now this is a challenge at the best of times. It is virtuosic in a way that perhaps only Ravel could write. It’s a style that is unique. It sounds literally like no-one else. But what demands he makes to mimic simplicity! One feels that Ravel always wanted to simplify, but the way his mind worked was just different from the rest of us. The pianistic elements don’t feel like decoration. They are essential elements in the music’s sense.
Congyu Wang’s playing was breath-taking. The emphasis here was in the contrasts. Slow-fast, quiet-loud, the contrasts seemed emphasised, but never mannered. Add to that the rhythmic tension that is always part of Ravel's thinking and the result is this masterpiece of the concert hall. He had really thought about the overall shape of the piece and that came across with clarity. Just what the rather strange mind of Maurice Ravel had in mind we will never know. What is clear is that the place he lived was not quite in this universe, such a transporting experience does his music offer - and this performance in particular.
And then, at the end of the programme, we heard Aldoraba de Garcioso. This is Ravel in “Spanish” mode and the audience will have been totally familiar with the musical phrases and harmonies that keep surfacing in this consciousness stream that is pure Ravel. The playing was again beyond brilliant, but always sympathetic, never spectacular just for effect. Congyu Wang is a true artist.
There followed three
encores. Chopin, Debussy and more Chopin. The audience would have stayed for
more, but after a programme like that at least one person involved deserved a
rest.
