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Guest review by Ruth Livesey

Jia Ning Ng, Biggar Music, Club 5th October 2023

BEETHOVEN: Piano Sonata No.17 in D minor, “Tempest”Op. 31 No. 2

ROBERT SCHUMANN: Bunte Blätter Op. 99

SCHUBERT: Piano Sonata in B-flat major, D960

Jia Ning, a young pianist from Singapore, studied at the Royal Conservatoire of Scotland. She graduated top of her class in 2022 and was awarded her Artist Diploma, having previously gained her Master of Music (Piano Performance) and Bachelor of Music with First Class Honours. She also won several awards and competitions, including the RCOS concerto competition, allowing her to make her debut with the Royal Scottish National Orchestra. In addition to embarking on her solo career, Jia Ning regularly collaborates with other musicians as a keen chamber musician and is also a staff accompanist at the Conservatoire in Glasgow. Her recital at Biggar Music Club formed part of an RCS Governor’s recital tour, including performances in Peebles, Kelso and Falkirk, and forthcoming concerts in Inverness and at Strathearn Music Society in November.

Her performance was keenly anticipated in Biggar, after she received a standing ovation in Peebles, and deservedly so; her performance of the same programme here, tackling some very profound works, showed immense maturity, poise and mastery. Right from the sorrowful Largo opening phrase of the first movement of Beethoven’s Sonata in D minor, Op.31 No. 2 (Tempest), she captivated the audience, who didn’t move a millimetre from the beginning to the end of the concert. Indeed, it was one of those rare openings to a recital where it was apparent from the first few notes that it was going to be something very special.

One of several notable aspects of Jia Ning’s playing, which immediately stood out in this first motif, was the quality of her tone production – a feature that was evident and a highlight throughout the whole recital, in the vast spectrum of soundworlds called for – as she created a mysterious atmosphere, with such a gentle, but clear touch. This immediately gave way to the dramatic, agitated contrasting material that followed. The frequent alternation of the stormy and peaceful sections was well managed and varied throughout this movement. Passages where a lighter, more articulated touch was called for were wonderfully nuanced, with an interplay between melodic and harmonic lines in impressive balance at other times, such as at the end of the exposition. There was an other-worldly quality to the recitative-like section, a solo right hand line over an arpeggiated pedal, often attributed to Beethoven’s own words, but according to Dr Barry Cooper perhaps erroneously so, as being, “like a voice from the tomb.”

In the noble, hymn-like, ravishing slow movement, the audience remained entranced and completely silent, as Jia Ning achieved a splendid purity of tone in her long cantabile melodic lines, which unfolded organically, allowing the music to speak for itself. The triplet drum-like figures in the accompaniment, alternating in register, towards the end of the first subject were played with admirable articulation and an extraordinary, shimmering delicacy. Chords were voiced exquisitely throughout, with so many tangible layers to her sound, even just in this movement. The graceful sweep of the left hand demisemiquaver descending accompaniment in the recapitulation, was stunningly beautiful and elegant, creating one of many memorable moments in this introspective and sometimes poignant movement. Moreover, it was also obvious throughout the evening that Jia Ning possesses an intelligent attention to detail and faithfulness to the score in all aspects of her playing, yet her interpretations were never predictable.

We were always left with an impression of spontaneity and a feeling of discovery, with Jia Ning finding numerous special moments and delightful details, in order to portray her evocative exploration of many different emotions. In the final movement, she presented us witha contrast between lyrical lines and the stormier material, where there were bold torrents of sound. There was tension in the climaxes and a spine-tingling control in the quietest of passages. We were treated to a full range of expression to end this turbulent Sonata. It was a magnificent start to the recital, leaving a wonderful first impression of her astonishing pianism and ability to communicate meaning.

To end the first half, Jia Ning turned to Schumann and his uncommonly heard Bunte Blätter, Op. 99 (which translates as ‘Colourful Leaves’). She presented the first 10 of the 14 miniatures in the set, and each was expertly characterised with a vast array sentiments and moods, that often shifted abruptly. The opening to the first was extremely tender and moving, yet with a joyful simplicity and perfectly judged flexibility in the rubato. It was a splendid introduction to the rich and vivid world of Schumann. There was a meticulous approach, with every phrase precisely contoured, yet her playing always unfolded naturally and was never forced. The playfulness and liveliness achieved in the Novelette was particularly enchanting. An energetic conclusion in the Präludium brought this remarkable first half to an end and, for a while, the audience sat quite stunned, taking in what they had just heard before turning to each other with smiles and praise.

The second half was entirely given to Schubert’s monumental Sonata No. 21 in B flat, D960. This was his final sonata, written in a frenzy of activity during the last months of his life, a time wracked with poverty and ill-health before his premature demise. It is cast in four expansive movements, classical in overall structure, but romantic features are evident, such as the cyclic material unifying the movements, and also the harmonic language. It was pleasing to hear the exposition repeats in the long opening movement. Jia Ning explained that she had included them so as not to miss out important motivic details. The movement is notable for its mercurial shifts in harmony, colour and thematic material, which were handled with a staggering intensity and artistry, as we were drawn into the gentle drama that unfolded. The opening of the development section, in the remote key of C-sharp minor, was played with a celestial beauty and, as it progressed, contrasting motifs gave way to the climax of the development which was imbued with real pathos and serenity. At other moments, warmth radiated from long flowing lines over well-balanced and muted bass figurations. The dynamic and emotional range throughout the movement was boundless.

From the outset, we were drawn right into the reflective, sombre and sometimes tragic second movement. At times the playing was barely audible, yet with an ethereal clarity of sound that still reached the back of the hall. This considerable dynamic control was effortless and there to serve the music, with its spiritual inclination. The rich textures of the middle section signalled yet another shift in temperament. The change of timbre towards the end of the movement for the move to C major was hauntingly sublime.

The Scherzo of the third movement skipped along with a luminosity of sound and lightness of touch, interspersed by the momentarily darker mood of the Trio. The concert was brought to an end by a tumultuous reading of the mighty final movement. Just as in the Beethoven, Jia Ning handled the unpredictable shifts of mood, key, dynamics, texture and timbre astoundingly, yet there was never an excess of ideas. There was a real drive in the turbulent themes, which contrasted with the jubilation elsewhere. It was refreshing to heara player at the beginning of their professional career tackle this repertoire, rather than opt for more obvious showmanship, which she is clearly capable of, as shown in the rapid flourishes in the encore, (Balakirev/Glinka, The Lark). This left me speechless as we were taken to yet another stratosphere. However, it takes a pianist of outstanding skill to be able to play these works of great depth in the way that she achieved, with much of what astounded me being difficult to portray in words, because it was found in her deep communication with the audience. She balanced her ability to have something to say, with letting the music just be. How blessed are the music lovers in our community, and those surrounding us, to have been able to witness such fine creativity and artistry.

There is surely a bright future ahead for this pianist and I will look forward to attending a future concert given by Jia Ning.

©Ruth Livesey

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This article first appeared on the InterludeHK site, part of a series exploring musicians’ connections with particular composers

Why is it that some pianists have become so closely associated with specific composers? Is it due to personal preference, that they feel a particular affinity with certain composers, or simply like their music? Or is the association one which is conferred upon them by critics, commentators and audiences? Media focus undoubtedly plays a part in this: the pianist becomes an acknowledged specialist or authority in the music of a specific composer, or composers, and their other performances/recordings may be overlooked as a consequence. Take Alfred Brendel, for example – a pianist most closely associated with the Viennese masters Haydn, Mozart, Beethoven and Schubert – yet he also made some very fine recordings of Liszt’s piano music.

This series of articles will explore pianists who have a special relationship with specific composers.

Beethoven’s 32 Piano Sonatas – scaling the pianistic Everest

Beethoven’s 32 Piano Sonatas are often referred to as the ‘New Testament’ of the pianist’s repertoire, and for many pianists they offer a remarkable, quasi-religious journey – physical, metaphorical and spiritual – through Beethoven’s creative life. This is truly “great” music, that which is endlessly fascinating and challenging, intriguing and enriching, and such is the popularity of this repertoire that you can guarantee that somewhere in the world right now there is a concert featuring these remarkable sonatas.

“There is something about the personality of Beethoven that is so overwhelming, and I think that the sonatas are the pieces that go the deepest, that show him at his most exploratory, his most inventive, and at his most spiritual.” – Jonathan Biss

Artur Schnabel

The first pianist to record the complete Beethoven piano sonatas in the 1930s, just a few years after electrical recording was invented, Schnabel set the standard by which all subsequent recordings was set, and his playing is acclaimed for its intelligence and insight, emotional depth and spiritual understanding of this music. So fine were his recordings that one critic described him as ‘the man who invented Beethoven’.

Daniel Barenboim

“I’ve known these works for many years….but whenever I go back to this music I find something new.”

Beethoven’s piano sonatas have followed Daniel Barenboim throughout his career, and such is his affection for this music he has recorded the complete piano sonatas five times, most recently during lockdown when, during this period of enforced isolation, he decided to approach the sonatas anew. His first recording was made in 1950s when he was a young man. It is perhaps an indication of the reverence with which this music is held, and its distinctive challenges, that Barenboim has made so many recordings of the sonatas. For him, this is music which has an infinite appeal, to be taken up by other pianists who follow him.

Annie Fischer

It is interesting to note that few women pianists have recorded the complete Beethoven piano sonatas, Annie Fischer being an exception. The music of Beethoven was central to Fischer’s career and her recordings are still much admired, nearly 30 years after her death. Her style is unaffected and self-effacing, letting the music, and composer, speak, and her playing displays great nobility, elegance and humanity. Her recording of the complete piano sonatas is regarded as her greatest legacy.

Igor Levit

“Beethoven’s music kind of creates this link between the player, the music, the audience. This triangle is enormously intense.” – Igor Levit in an interview with Jon Wertheim

Igor Levit released his first recording of Beethoven piano sonatas when he was just 26, an album which received huge acclaim for its intense expressivity and Levit’s mature approach balanced with a youthful ardour. He released his recording of the complete Beethoven sonatas in 2019.

In his performances of Beethoven, Levit produces a clear, lively and well-balanced sound, but he’s not afraid to roughen the edges of the music to create a more visceral impact. His concerts can be intense, almost uncompromising, but his Beethoven playing is some of the most exhilarating and adventurous to be enjoyed today.

Jonathan Biss

For American pianist Jonathan Biss, Beethoven has been a close companion throughout most of his life, and during the past 10 years he has fully immersed himself in Beethoven: he has recorded the complete piano sonatas, performed complete cycles around the world, and also teaches an in-depth online course about the sonatas which has attracted over 150,000 students globally.

“As individual works, each is endlessly compelling on its own merits; as a cycle, it moves from transcendence to transcendence, the basic concerns always the same, but the language impossibly varied”

Biss is a “thinking pianist”, with an acute intellectual curiosity and an ability to articulate the exigencies of learning, maintaining and performing this music. His Beethoven playing has long-spun melodic lines, well-balanced harmonies, taut, driving rhythms, rumbling tremolandos, dramatic fermatas, carefully-considered voicing, subito dynamic swerves, and colourful orchestration. It is not to everyone’s taste, but his performances can be vivid, edge-of-the-seat experiences which reveal how Beethoven took the genre to the furthest reaches of what was possible, compositionally and emotionally.

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ENTRANCED The Orchestra of the Swan Signum Classics SIGCD853 Musical adventurers, Orchestra of the Swan (OOTS), led by the charismatic violinist David Le Page, complete a remarkable musical journey with their latest release, Entranced. It’s an extraordinary odyssey which has seen them topping the US Billboard and iTop charts, and launching millions of streams from new audiences. Their innovative, imaginative approach cleverly combines “traditional” classical music with rock, pop, jazz, techno, ambient and folk to produce eclectic programmes and performances which blur the lines between genres. This enlightened approach to repertoire, combined with the Swan’s concerts in non-standard venues and experiments in digital sound, appeals to listeners with less exposure to classical music. Over the past few years, OOTS have released a series of “mixtape” albums, which continue the spirit of the mixtapes and compilations on cassette tape of the 1980s (something which those of us of a certain age will remember creating for friends and boyfriends/girlfriends). These inventive, carefully curated and beautifully executed albums present a diverse compilation of arrangements (many of which are by David Le Page) and reinterpretations of works by an eclectic mix of composers.
Entranced is a compilation of these compilations, as it were, incorporating 15 tracks from OOTS’ critically acclaimed trio of mixtape albums, Timelapse, Labyrinths and Echoes, with all tracks now produced in Dolby Atmos – the immersive, surround-sound technology developed by cinema, that places the audience at the heart of the sound. Artistic Director of OOTS, David Le Page says, “Entranced weaves together the genius of David Bowie, Schubert, Delius, Philip Glass, and Piazzolla. There is a brand new arrangement of Finzi’s extraordinary The Salutation for solo violin and strings, and transcendent beauty, from Brian Eno’s gorgeous An Ending (Ascent), to Peter Maxwell Davies’ Farewell to Stromness.”
Listening in not-quite-darkness, with only the dim light from my bedside clock radio, I hear An Ending (Ascent) by that master of ambient, Brian Eno. Of course I recognise it, but not quite in this arrangement. The sounds wash gently over me and in the dark and still of the night, it’s intimate and meditative, almost a lullaby. Listening again, in daytime, in the surround sound of my kitchen HiFi, the music floats, weightless but for a simple sequence picked out on the harp, now growing in intensity with a soaring violin line over lusher instrumental textures….
This track embodies the spirit of Entranced. The music on this album is serene and introspective, mesmerising and immersive – from the opening track, an arrangement of David’s Bowie’s song Heroes to the gracefulness of Rameau’s Les Boréades, the haunting sensuality of Piazzolla’s Oblivion, and the hypnotic, minimalist loops of Philip Glass, Entranced presents a sequence of beautifully atmospheric musical landscapes, infused with light, which transport the listener to the far reaches of their imagination. Entranced is released on 20 October by Signum Classics, on disc and via streaming
Orchestra of the Swan
David Le Page

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Two contrasting new releases today

Duncan Honeybourne plays the 1873 Bevington organ at Holy Trinity parish church, Bincombe, Dorset (Prima Facie records PFCD220)

Bincombe is “a tiny place, comprising a few cottages, fields, farms and an ancient church nestled against a verdant hillside in sight of the sea. The lush meadows provide an inviting backdrop whilst, on the sightline, the English channel sparkles in the summer sunshine and shimmers mysteriously at night.” (Duncan Honeybourne). Part of the church dates from the twelfth century, with most of the remainder having been constructed in the fifteenth. The single manual organ was built by the London firm of Bevington and Sons in 1873 and supplied at a cost of £105 to the neighbouring parish of Broadwey. It was moved to Bincombe in 1903. (Bincombe is famous for its “bumps”, a cluster of round barrows which are visible from the Weymouth Relief Road.)

I was lucky enough to have a little preview of this album when Duncan gave a concert on the organ at All Saints’ church, Wyke Regis, in September. This album includes works by those masters of organ writing, Buxtehude and J S Bach, together with works by John Bull, William Byrd and Maurice Durufflé, as well as a nod to Wesssex composers, with works by Exeter-born Kate Boundy and Kate Loder of Bath. There is also a Dorset connection with Greville Cooke’s tranquil Threnody, recorded here for the first time. Cooke, a pianist, composer, poet, priest and professor at the Royal Academy, lived in north Dorset in his last years, although this piece was written during his time as Rector of Buxted, East Sussex. The album closes with John Joubert’s Short Preludes on English Hymn Tunes, composed for the new chamber organ at Peterborough Cathedral in 1990. 

An enjoyable and highly varied disc which reveals the myriad colours, moods and warmth of the Bincombe organ. As a Dorset resident myself, I am particularly taken with the album’s connection to the local area near to where I live.

Songs for Our Times

Christopher Glynn (piano), Isabelle Haile (soprano), Nick Pritchard (tenor)
Settings of lyrics by Chinwe D. John by Bernard Hughes and Stuart MacRae

(Divine Art Records DDX 21113)

I first encountered poet and lyricist Chinwe D John in spring 2022 when she contacted me about an EP of settings of her poetry (read my interview with her here).

This new release, like the previous EP, is an affirmation of Chinwe’s belief that in order to keep classical music thriving and to bring in a new audience, the work of present day composers needs to be supported. Commissioning contemporary day composers, to set music to lyrics directly reflective of our current times, is one way of accomplishing this. Chinwe herself sought out composers who shared her vision to set her words to music.

The album features two premiere recordings Kingdoms and Metropolis, whose stories will be familiar to many with their universal subjects, including the need for wisdom within the halls of power; transcendent love; an immigrant’s homesickness; the search for inner peace; all flow through the album evoking the spirit of our day and age. Despite our current turmoil, the overall tone of the album is a hopeful one, making it a welcome balm during our turbulent times.

With music by leading British composers Stuart McRae and Bernard Hughes, this is an intimate and ultimately uplifting album, with a wonderfully varied selection of very beautiful, arresting music.

Both albums are available on CD and via streaming