Waves
Bruce Liu (piano)
rec. 2022, Teldex Studios, Berlin, Germany
Reviewed as a digital download from a press preview
Deutsche Grammophon 4864400 [61]
On the basis of the programme of this his full debut on the Yellow Label, no one could accuse Canadian pianist Bruce Liu of trotting out the same old virtuoso fodder designed to make, if you’ll pardon the pun, waves. Not the least odd thing about this release is the largely meaningless title, Waves. Being pedantically literal, only one section of one work is concerned with waves and even then Ravel’s sea in his Barque sur l’ocean is largely a gentle one.
Setting that title aside, there is a lot to enjoy in an enterprising recital. I understand that Liu had adjustments made to the action of his piano for each style of music included. Certainly his Rameau is nimble as well as full bodied. Having greatly enjoyed Liu’s recent Bach digital EP, I was a little surprised at how many liberties he took with the French composer’s music. Perhaps though it is me who has grown old fashioned as virtually all HIP practitioners these days take considerable risks in their performances. Looked at from a longer historical perspective, performances such as this demonstrate that there is nothing new under the sun. The important thing is that I enjoyed it greatly. Certainly a lot more than Vikingur Ólafsson’s rather po faced renditions of the same music from a few years back.
Liu’s way with Rameau put me in mind of his DG stable mate Kit Armstrong’s debut in the work of Byrd and Bull. Liu isn’t as fantastical as Armstrong but there is a lot to be said for his fusion of classy restraint and more extravagant reproductions of this music.
If Rameau is normally the reserve of specialist performers then the music of Allan is positively esoteric. Virtually a hermit, Alkan wrote some of the most technically demanding and strange music of the Nineteenth century. It is little wonder Liu would be drawn to it in an attempt to make a splash with his first full studio release. In concert, I’m sure this music would both surprise and wow an audience but on record I doubt it will attract many casual listeners. This section of Alkan’s Etudes is in effect a set of variations of increasing complexity and bravura and Liu delivers with consummate nonchalance.
The Ravel is the only element of the programme one would expect to see on a debut disc. It is, unfortunately, a bit of a mixed bag. At its best as in Une Barque which I mentioned earlier, Liu evokes a gloriously expansive seascape fully the equal of his many rivals in this music. On the other hand, his clown in the Alborada is very muted and unlikely to provoke much mirth. Overall, he can’t touch the intuitive freedom and intensity of Beatrice Rana, to cite one comparison. Rana almost makes one forget that she is striking keys to make this music. Good though Liu is, he is more earthbound less spontaneous.
This curious programme doesn’t really make the big statement I assume Liu hoped for. He is to be praised for innovative programming even if ultimately I don’t feel it quite adds up. My admiration for both his pianism and musicality remains undimmed but I look forward to a better showcase for his talents in the future. His Rameau above all points to a most fruitful way forward.
David McDade
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Contents
Jean-Philppe Rameau (1683-1764)
Gavotte et six doubles RCT 5/7
Les Sauvages RCT 6/14
Les Tendres Plaintes – Rondeau RCT 3/1
Les Cyclopes – Rondeau RCT 3/8
Menuets RCT 6/3-4
La Poule RCT 6/12
Charles-Valentin Alkan (1813-1888)
Recueil de Chants Op 65 No 6 Barcarolle
12 Etudes in all the Minor Keys Op 39 No 12 Le Festin d’Esope
Maurice Ravel (1875-1937)
Miroirs M43
