Daniel Hsu happened to be about an hour away this past Sunday afternoon, at a concert hall I'd never seen before, in Findlay, Ohio. Beautiful hall and beautiful Bosendorfer piano. Daniel Hsu was my favorite Cliburn competitor last spring so I had to make the trip.
I still loved his playing these many months later, probably more than before. I was rereading some of my comments about him (see the rest of the Cliburn Competition Reports categories) and during the finals, I commented that it was as if he was playing the premiere of the Tchaikovsky concerto. His playing just has so much freshness but also naturalness.
My favorite had to be the Chaconne. It sounded more like a set of variations than I'm used to hearing, and that's a very good thing. Every single variation felt like an original composition with it's own unique voicing, subtleties of rubato. But it still held together and was clearly a single narrative. I've rarely ever heard the piano sound so much like an organ: layers of sound all emanating from the same source (I say this to differentiate from sounding 'orchestral' at the piano), but beautiful layers that were phrased individually and as a whole.
He had some beautiful things elsewhere, of course. I was particularly drawn to lyrical melodies in the opening of the Chopin Fantasy. Where Chopin added a countermelodic harmony in the right hand, Hsu voiced them so subtly as just a tinge of color, instead of a full fledged second voice. I've been teaching about spectral music in both my piano repertoire class and with a private student, and specifically how these composers seek to alter our perception of the piano's timbre by specifically voicing complex, dissonant chords. It is a remarkable affect that does work, and Hsu seemed to capture an element of that: not letting the countermelody compete with the principle one.
I found him focusing a little too much on the "dance" side of Chopin's famous 'concert-dance': his agogic accents were a little redundant for me. But overall his playing is imaginative, clean and energetic. Pictures sounded nowhere near its 30-minute length, and everything from the most bombastic to the most simple was given a thorough, thoughtful musical treatment.
"Modern performers seem to regard their performances as texts rather than acts, and to prepare for them with the same goal as present-day textual editors: to clear away accretions. Not that this is not a laudable and necessary step; but what is an ultimate step for an editor should be only a first step for a performer, as the very temporal relationship between the functions of editing and performing already suggests." -Richard Taruskin, Text and Act