Claire Huangci’s latest project took root five years ago, when she learned Clara Wieck’s Piano Concerto for the composer’s 200th birthday. Since then, her passion for female composers has expanded and here, she features Wieck alongside Florence Price, Fanney Hensel, and Amy Beach.
Had it not been for the social constraints of her time, Fanny Hensel may well have outshined her brother, Felix Mendelssohn; works like her Capriccio in B minor (tracks 1-2) show an impressive variety of compositional styles, Classical refinement, and virtuosic flair. Just as impressive is the pianist’s ability to navigate all of the artistic and technical challenges. Huangci brings out the counterpoint of the fugal sections with great clarity and an understanding of how the lines connect to each other. The speedy passages are simply delightful with their immaculate articulation, shimmer, and elegant caprice.
The selections from Das Jahr, Hendel’s 12-work cycle depicting different months of the year, show their origins in the lied genre. The pianist skillfully creates uninterrupted dialogue between the ‘singer’ and ‘pianist.’ The vocal lines arch beautifully in June’s Serenade (track 6), bringing a poignant yearning, especially when the notes reach their highest. Listen closely to the middle section for the nod to Schubert’s own serenade (Ständchen) from his Schwanegesang cycle.
The chapter devoted to Amy Beach features a solid interpretation of the Fantasia Fugata. Huangci brings out the fantasia’s true spirit of improvisation: the Allegro Vigoroso (track 7) is not only fluid but undulates with suspense as she navigates Beach’s dark yet alluring harmonies. The ensuing Fuga starts solemnly enough with clean and evenly contoured voices, with an unexpected element of whimsy in the recurring appoggiatura motif. This cleverly belies a more serious and dramatic buildup to a thunderous and exciting conclusion.
The Four Sketches Op. 15 offer much lighter fare but also show the imaginativeness that characterizes much of Beach’s work. Autumn (track 10) may be in a minor key, but has a jaunty personality to which the composer adds increasing virtuosic elements like secondary voices and intricate textural patterns. In keeping with the piece’s personality, the pianist approaches these tricky additions with disarming nonchalance, though we can hear just how familiar she is with its acrobatic twists and turns. The levity of Phantoms (track 11) belies the ominousness of the title and, similar to the previous selection, possesses a spontaneity that speaks to how Huangci enjoys the music.
Dreaming (track 12) switches gears into a realm of nostalgia, gentle dreams, and charm, giving us a chance to savor the lyricism of Beach’s lines; there is pureness and simplicity in the playing that highlights the piece’s innocence. Fireflies is reminiscent of Chopin’s ‘Double-Thirds’ etude and once again, Huangci displaying flawless technical command.
Claire Huangci (image: ©️ Jean-Baptiste Millot)
Amongst the selections from Clara Wieck is indeed an excerpt from her Piano Concerto, namely the Romanze that employs the efforts of cellist Tristan Cornut. It’s a nice collaborative addition to the otherwise solo works and illustrates a lovely partnership: the pianist moves seamlessly from a solo to a secondary capacity but in either role, we can appreciate the translucence of the tone that is reminiscent of chimes and water droplets. Cornut, too, does a splendid job of balancing the melody’s emotiveness and fragility in his lines. The Polonaise (track 18) is perhaps another nod to Chopin, but shows a distinctly different stylistic take on the genre: in place of the heady, assertion we might associate with Chopin’s take, Huangci emphasis the litheness of Wieck’s passagework as well as the crisp, signature dance rhythms.
As for the Florence Price set, the G minor Fantaisie Nègre (track 19) proves outstanding for its narrative character: there are moments of expansiveness, introspection, passion and respite. Huangci has some excellent voice leading here, and the consequent smoothness helps bring out the lushness of Price’s harmonic language. The Cotton Dance (track 23) ends things on a bright note with the chirps of the parallel intervals resounding well beyond the conclusion.
This generous program presents four women with distinct voices, underscoring why their music’s wider recognition is long overdue. A wonderful effort from Huangci.
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Album Details |
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|---|---|
| Album name | Piano Heroines |
| Label | Alpha Classics |
| Catalogue No. | ALPHA1231 |
| Artists | Claire Huangci – Piano Tristan Cornut – Cello |
