New York Concert Review
Weill Recital Hall at Carnegie Hall, New York, NY
October 22, 2013
Recital debuts can be a dicey proposition in New York, depending on what other concerts and events are scheduled. Learning that a young Croatian pianist would be giving his New York debut in Weill Hall the same night as the much-heralded and fashionable Yuja Wang would play next door at Stern Auditorium, I imagined that a half-empty hall might await him. How wrong I was! Mr. Bračić’s sold-out house left a virtual mob swarming around the box office, hoping for tickets from last-minute cancellations. As the evening progressed, it became clear why: Javor Bračić is a pianist who possesses a deep, genuine musicianship and an outstanding technique that serves the great music he chooses. He honors both listener and composer with his intelligent, committed interpretations, and he offers a thoughtfully constructed program with elegance and humility. It was heartening to be reminded that such an artist is still a draw and that the “competition” for listeners is not always a zero-sum game.
Mr. Bračić began with Bach’s Prelude and Fugue in C Major, WTC II (BWV 870), which was at once noble and sensitive, with not a note out of place. Moving on to Haydn’s Sonata in D Major, Hob. XVI: 42, he sustained musical tension and interest through its rather longAndante con espressione, right through to the last note of the Vivace assai. Occasionally I wanted ornaments to be more singing in the first movement, and less subservient to the meter, but that was about the only quibble one could have – and a very personal one at that. The delicacy and precision were outstanding.
Moving to later style periods, Mr. Bračić tied his first half together to the Bach and Haydn by performing Debussy’s underplayed Hommage à Haydn (1909) and the even less well known Hommage à Bach (2001) by Croatian composer Davorin Kempf (b. 1947). In between old masters and homages came a World premiere of a work entitled Entwined, Disquiet (2013) by Rosalie Burrell (b. 1988). At times searching and at others explosive, the two movements explored a tonal world that verged on orchestral, bearing hints of Messiaen and even Scriabin, though without being derivative. Ms. Burrell is still quite young, but already emerging as quite a colorist. I would have enjoyed some information on the piece, but Mr. Bračić, playing from score, appeared to meet this new work’s challenges beautifully, with considerable expressiveness.
As far as the homages go, I’ve never completely grasped the Haydn connection in the ever so brief Debussy work, apart from some tenuous structural likenesses and passing elements of humor and surprise, but it is immediately appealing and was played convincingly by Mr. Bračić. The Bach tribute by Mr. Kempf is far less elusive. Crisp mordents, preceding impassioned scalar writing, hearkened back to Bach’s Toccatas (notable the BWV 565 Organ Toccata in D minor), while quieter counterpoint and sequential episodes were set ingeniously amid some highly adventurous, clearly twentieth-and-twenty-first-century composition. Virtuosity abounded, and Mr. Bračić was on top of it all with dash and drama. Hints of the B -A-C-H theme by Bach himself (based on the tones B-flat, A, C, and B-natural) emerged amid dissonant writing that at times resembled a Bach festival recalled through a dream, all brought to an end with a nod to Bach’s characteristic Picardy close. It is a work I’d like to hear again, especially thanks to Mr. Bračić’s superb performance.
The program’s second half consisted of the Brahms Piano Sonata No. 3 in F Minor, Op. 5, a feast of some of the noblest, warmest, richest piano writing in history, and Mr. Bračić was well suited to it all. Some minor glitches arose – as happen to almost all pianists – but most seemed here to stem from over-straining for power against the piano’s somewhat resistant treble register at climaxes. If those moments can be conquered with the majesty shown elsewhere, Mr. Bračić will have one of the best Brahms F Minor Sonata performances around. As it is, I would hear him again in a heartbeat. His audience seemed to agree, earning an encore of a small Ravel work – you guessed it!-Hommage à Haydn.
-Rorianne Schrade for New York Concert Review; New York, NY
Weill Recital Hall at Carnegie Hall, New York, NY
October 22, 2013
Recital debuts can be a dicey proposition in New York, depending on what other concerts and events are scheduled. Learning that a young Croatian pianist would be giving his New York debut in Weill Hall the same night as the much-heralded and fashionable Yuja Wang would play next door at Stern Auditorium, I imagined that a half-empty hall might await him. How wrong I was! Mr. Bračić’s sold-out house left a virtual mob swarming around the box office, hoping for tickets from last-minute cancellations. As the evening progressed, it became clear why: Javor Bračić is a pianist who possesses a deep, genuine musicianship and an outstanding technique that serves the great music he chooses. He honors both listener and composer with his intelligent, committed interpretations, and he offers a thoughtfully constructed program with elegance and humility. It was heartening to be reminded that such an artist is still a draw and that the “competition” for listeners is not always a zero-sum game.
Mr. Bračić began with Bach’s Prelude and Fugue in C Major, WTC II (BWV 870), which was at once noble and sensitive, with not a note out of place. Moving on to Haydn’s Sonata in D Major, Hob. XVI: 42, he sustained musical tension and interest through its rather longAndante con espressione, right through to the last note of the Vivace assai. Occasionally I wanted ornaments to be more singing in the first movement, and less subservient to the meter, but that was about the only quibble one could have – and a very personal one at that. The delicacy and precision were outstanding.
Moving to later style periods, Mr. Bračić tied his first half together to the Bach and Haydn by performing Debussy’s underplayed Hommage à Haydn (1909) and the even less well known Hommage à Bach (2001) by Croatian composer Davorin Kempf (b. 1947). In between old masters and homages came a World premiere of a work entitled Entwined, Disquiet (2013) by Rosalie Burrell (b. 1988). At times searching and at others explosive, the two movements explored a tonal world that verged on orchestral, bearing hints of Messiaen and even Scriabin, though without being derivative. Ms. Burrell is still quite young, but already emerging as quite a colorist. I would have enjoyed some information on the piece, but Mr. Bračić, playing from score, appeared to meet this new work’s challenges beautifully, with considerable expressiveness.
As far as the homages go, I’ve never completely grasped the Haydn connection in the ever so brief Debussy work, apart from some tenuous structural likenesses and passing elements of humor and surprise, but it is immediately appealing and was played convincingly by Mr. Bračić. The Bach tribute by Mr. Kempf is far less elusive. Crisp mordents, preceding impassioned scalar writing, hearkened back to Bach’s Toccatas (notable the BWV 565 Organ Toccata in D minor), while quieter counterpoint and sequential episodes were set ingeniously amid some highly adventurous, clearly twentieth-and-twenty-first-century composition. Virtuosity abounded, and Mr. Bračić was on top of it all with dash and drama. Hints of the B -A-C-H theme by Bach himself (based on the tones B-flat, A, C, and B-natural) emerged amid dissonant writing that at times resembled a Bach festival recalled through a dream, all brought to an end with a nod to Bach’s characteristic Picardy close. It is a work I’d like to hear again, especially thanks to Mr. Bračić’s superb performance.
The program’s second half consisted of the Brahms Piano Sonata No. 3 in F Minor, Op. 5, a feast of some of the noblest, warmest, richest piano writing in history, and Mr. Bračić was well suited to it all. Some minor glitches arose – as happen to almost all pianists – but most seemed here to stem from over-straining for power against the piano’s somewhat resistant treble register at climaxes. If those moments can be conquered with the majesty shown elsewhere, Mr. Bračić will have one of the best Brahms F Minor Sonata performances around. As it is, I would hear him again in a heartbeat. His audience seemed to agree, earning an encore of a small Ravel work – you guessed it!-Hommage à Haydn.
-Rorianne Schrade for New York Concert Review; New York, NY
