Pohadka, a Czech word meaning fairy tale, was the first work presented by our performers Wei Yu and Keuna Lee. The first movement of this three movement work begins with a kind of call and response between the piano and the cello. From the piano come the first melodic lines, and the cello interjects pizzicato (plucked) phrases. The listener can sense immediately that this piece is a journey unfolding, filled with many emotions – impassioned moments at times and then others that are more playful, becoming more anxious and agitated as the piece progresses.
Overall, this colorful patchwork of music highlights the talents of our two artists, pianist Keun-A Lee and cellist Wei Yu. Keun-A Lee’s sensitive interpretations of many wide and expansive phrases of the music showed that she and Wei were very much “locked in” together and listening to each other’s playing at every turn – almost instinctively. This is a piece that they must have played together many times, for they played it as though they owned it. From her petite and diminutive frame, Keun-A conjured up great strength at the piano whenever she wanted to deliver it. She could also quickly execute pianissimos with fluidity and grace. It is no surprise to find out that these two artists are married to each other and know one and other’s musical language very well. I think that this is a positive for these two when performing chamber music, especially works written for a duo. There is no question that Wei and Keun-A are reading and hearing what the other is going to play just before the notes come out, even on concerts where one might decide to play a passage differently than what might have been performed on a different evening.
Wei performs on the 1720 “Bedetti” David Tecchler cello, on generous loan from the Detroit Symphony Orchestra. The instrument enchanted all who were fortunate to hear it, but it was the fact the cello was in Wei’s hands that created the wonderful expressive notes coming from the stage. Wei plays with a dynamic range like that of Keun-A. He has a strong command presence on the cello, but he can easily balance it off with tenderness as he plays the delicate nuances while navigating this wonderful piece by Leos Janacek. From the first bow stroke, it was evident the Wei Yu wielded the power to give this instrument a human voice that could express itself in an infinite number of ways. His virtuosity is matched by a deep reverence to the instrument he held. Here was an enduring bond between musician, instrument and audience.
I think it also appropriate to point out that the Steinway concert grand played by Keun-A Lee was the very instrument played by Bela Bartok and Maurice Ravel at Pro Musica Detroit concerts dating back to the late 1920s. I think that those masters would have approved of her superb musicianship and pianistic approach to the instrument.
The second piece on the program, Crouching Tiger, Hidden Dragon, is from a film score by Chinese composer Tan Dun for the 2000 Ang Lee film of the same name. The music for Crouching Tiger, Hidden Dragon blends Chinese harmonies with Western-style orchestra music. Wei and Keun-A played this music as condensed for the instrumentation of cello and piano. Keun-A Lee displayed her skill of blending her piano part with often syncopated beats on the tambourine. During his solo passages Weidisplayed several bowing techniques from this very imaginative score. His swooping up and down the strings at times and his various uses of cello technique such as using the instrument for percussive effect or strumming strings with his hand, created delightful colors of sound that evoked many images (perhaps exotic landscapes – or whatever the listener chooses; after all, this music is a “gift” to them to picture what ever images from it they wish. Keun-A Lee once again brings out the full dynamic range of the piano, causing it to roar or to suddenly whisper. This musical team certainly understands the concept of control. Wei and Keun-A, first-rate pros as musicians, are unafraid to take risks and liberties with the music. The result is a wondrous and reflective piece of music that is delivered with enormous technical facility and sensitive expression.
The third piece on the program was César Franck’s Violin Sonata in A major, arranged for cello and piano. A romantic work, full of beautiful melodic lines, it is easy to see why this is one of Franck’s most beloved compositions. It has been said that this piece was a very highly personal for Cesar Franck. Music theorists suggest that this piece is so beautiful because Franck made use of the minor third and major third interval (believed to be the most powerful interval in musical scales) often right next to each other. Whatever the case, this is a gorgeous composition and Wei and Keun-A certainly delivered. Keun-A never overstates a musical idea at the piano – she doesn’t need to. I found her playing to be understated and full of beauty. Likewise, Wei never forces a note. He lets the music itself do the talking. I noticed that he took liberties with the tempo in slower expressive passages in the final movement. He gave them more time and therefore breadth. The effect was remarkable. The most gorgeous passages of this movement grab the listener’s ears and heart, and Wei pulls this off effortlessly. All he has to do is play what he feels.
This is the first time I had heard these works by Janacek and Tan Dun, and Franck. I must say that I am glad that Wei and Keun-A were the ones performing them. I left the DIA feeling grateful that I “learned” these pieces from them. In a broader sense I am thankful that I was reminded of music’s power to transcend the limits of time and space.