Cliburn 2017 Daniel Hsu Semifinal Recital
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- čas přidán 12. 06. 2019
- Fifteenth Van Cliburn International Piano Competition
May 25-June 10, 2017 • Bass Performance Hall
Fort Worth, TX, USA
DANIEL HSU
2017 CLIBURN BRONZE MEDALIST
United States | Age 19
Semifinal Round Recital - Thursday, June 1, 2017 - 7:30 p.m.
Program:
SCHUBERT Four Impromptus, D. 899, op. 90
BRAHMS Variations on a Theme by Handel, op. 24
A native of the San Francisco Bay area, Daniel Hsu began piano studies with Larisa Kagan at 6. He was accepted at age 10 to the Curtis Institute of Music, where he is the Richard A. Doran Fellow and studies with Gary Graffman and Eleanor Sokoloff. In 2016, Mr. Hsu was named a Gilmore Young Artist and won the bronze medal at the 9th Hamamatsu International Piano Competition. As first-prize winner of the 2015 Concert Artists Guild Victor Elmaleh Competition, Mr. Hsu made his Carnegie Hall debut in April 2017. He made his solo debut with the Philadelphia Orchestra in June 2016, and concerto appearances this season include concerts with the Grand Rapids Symphony, New Haven Symphony, and Symphonia Boca Raton. His notable recitals include appearances at the Krannert Center for the Performing Arts; Chicago’s Dame Myra Hess Concert Series; and Merkin Concert Hall’s Tuesday matinee series in New York. Mr. Hsu also is a film buff and enjoys computer programming. He contributed to the creation of the Workflow productivity app, which won a 2015 Apple Design Award and has improved the experience of mobile devices for visually impaired users. - Hudba
We were so proud to present Daniel in concert in our series Ames Town & Gown, in Ames, Iowa. What a beautiful pianist
(loved the Schubert Impromptus), but also just a great young man. We enjoyed just having him around.
His Schubert is poetic, colorful, and free. Through his playing, the title “Impromptus” finally carries meaning for me
He plays with so much nuance! It is a pleasure to listen to him (even when I close my eyes as he is a really handsome man)
He is so awesome! Beautiful Schubert!
Wonderful Schubert!!
Thank you for your art!
Браво ! Как же он тонко чувствует !
I loved this young man's playing in his earlier round. His Beethoven in particular sounded just "right", but in the first Schubert Impromptu I find his tone a little too "robust" and Brahmsian; for me, this music requires a sense of fragility - of a pretty surface threatening to crack at every moment, revealing unspeakable horrors beneath! In no. 2 his tempo is spot on (so many rush it off its feet; it's only Allegro), giving him plenty of time for some delicious phrasing in the pp passages (listen, for example, from 14.47; ahhhhh!) and allowing him to make a proper accelerando at the end (most performers don't), but no. 4 is surely too impatient for an Allegretto. In the sublime no. 3 Hsu explores a wide range of emotions, to powerful effect.
Ah, and he continues with Brahms, so how does he change his sound world, if at all (the test of a true master)? Not noticeably, but again the sound seems "right" for this music. However, I don't feel he has the grasp of this piece as he does Beethoven's op. 110. Brahms was a passionate, albeit "hung-up", man, and I'm not getting passion here. It's all a little too contained and lacking in variety and imagination; that final Fugue should make you want to leap out of your chair and shout for joy (listen to Emanuel Ax's thrilling recording). I don't sense that Hsu loves this music as he does Beethoven and Liszt, for example ... Still, an impressive account (quite a few fluffed chords and a memory lapse at 54.55 notwithstanding).
You're too kind. These two mark the apex of piano repertoire. The 17-year-old simply doesn't have the life experience to show.
Brahms is bonkers!
Mediocre, pedestrian Schubert-doesn't bring out drama. Platitude
Wrong choice of rep
Too much facial & body drama , distracts performance.
I loved this young man's playing in his earlier round. His Beethoven in particular sounded just "right", but in the first Schubert Impromptu I find his tone a little too "robust" and Brahmsian; for me, this music requires a sense of fragility - of a pretty surface threatening to crack at every moment, revealing unspeakable horrors beneath! In no. 2 his tempo is spot on (so many rush it off its feet; it's only Allegro), giving him plenty of time for some delicious phrasing in the pp passages (listen, for example, from 14.47; ahhhhh!) and allowing him to make a proper accelerando at the end (most performers don't), but no. 4 is surely too impatient for an Allegretto. In the sublime no. 3 Hsu explores a wide range of emotions, to powerful effect.
Ah, and he continues with Brahms, so how does he change his sound world, if at all (the test of a true master)? Not noticeably, but again the sound seems "right" for this music. However, I don't feel he has the grasp of this piece as he does Beethoven's op. 110. Brahms was a passionate, albeit "hung-up", man, and I'm not getting passion here. It's all a little too contained and lacking in variety and imagination; that final Fugue should make you want to leap out of your chair and shout for joy (listen to Emanuel Ax's thrilling recording). I don't sense that Hsu loves this music as he does Beethoven and Liszt, for example ... Still, an impressive account (quite a few fluffed chords and a memory lapse at 54.55 notwithstanding).