Reviewed by
BILL STEPHENS.
Reuben Tsang
has been causing ripples around music circles since 2016. As a twelve year old,
taking part in the Young Australian Showcase as part of the 2016 Sydney
International Piano Competition, Tsang astounded audiences with his
performances of Chopin and Beethoven.
Born and
raised in Cairns, Tsang has been learning piano since the age of five.
Currently studying for a Bachelor of Music at the Queensland Conservatorium
Griffith University, under the tutelage of Natasha Vlassenko, he’s been
steadily building a reputation particularly for his mastery of the Romantic
repertoire.
The
withdrawal of another competitor just one week before the 2O23 Sydney
International Piano Competition provided the impetus for his participation in
that festival. With just one week to prepare a program, the now twenty year old
pianist, sailed through the preliminary rounds, not only becoming the second
youngest in the competition’s history to ever make the Semi-Finals but emerging
as the winner of the prestigious Nancy Weir Best Australian Pianist Prize.
This recital,
part of a capital city tour taking in Sydney, Melbourne, Brisbane and Canberra,
provided a welcome opportunity to experience the talents of a young man clearly
on the cusp of an impressive International concert career.
After
acknowledging the applause and settling himself at the piano, Tsang commenced
his meticulously chosen, wide-ranging program with three sparkling Scarlatti
sonatas, immediately capturing the audience’s attention with his confidence and
impeccable technique.
He
introduced the Brahms Piano Sonata No.1 in C Major Op 1, with a smile,
reminding the audience that Brahms wrote this sonata when he too was just
twenty years old. Tsang’s obvious pleasure in interpreting this exuberant work in
which the hallmarks of Brahms later works are obvious, provided not only a
compelling listening experience, but also a thrilling demonstration of Tsang’s
mastery of dynamics and phrasing.
In complete
contrast, Tsang commenced the second half of his program with Mozart’s Piano
Sonata No.3. Again Tsang’s phrasing was fascinating. Seemingly oblivious of the
technical demands Tsang’s approach seemed almost playful, giving the impressing
that he was still mining the work to share his excitement at his discoveries.
Similarly
with the three Faure’ Impromptu’s that followed; the brooding number 1, the
carefree number 3 and the showy number 5, the latter allowing Tsang to flaunt
his virtuosity with tantalising pauses between the glittering virtuosic runs.
All of which
was leading to his finale. Liszt’s Rhapsodie espagnole S.254. No holding back
here. No histrionics. Just brilliant pianism leaving no doubting that this is a
fabulously talented young musician, who, if fate favours him, is destined for a
brilliant career.
Oh! And
there was an encore. Perfectly chosen to settle down an over-excited audience,
Faure’s gentle Romance Without Words.
This review first published in the digital edition of CITY NEWS on 26.03.24.
