Ryan Wang
Queen’s Hall, Edinburgh 18/8/25
Ryan Wang piano
The Queen’s Hall was packed to the rafters on the forenoon of 18th August for an all-Chopin recital by 18-year old Canadian pianistic star and last year’s BBC Young Musician of the Year, Ryan Wang. The concert was presented as part of this year’s ‘Focus on Poland’ strand of the Edinburgh International Festival. Of the nine EIF Queen’s Hall recitals that I have covered, this was the first that played to a full house.
The first half of the concert was devoted to the full set of 24 Preludes, Op.28. Starting with C major and A minor, Chopin covers the tonal spectrum proceeding in a major circle of fifths, each followed by its relative minor. The astonishing variety of the pieces afforded an opportunity to capture the hearts of an audience through picture-painting and story-telling skills. That is exactly what we got. Ryan held the rapt audience in the palm of his hand, with phrasing that teased the ear and drew it deeper into the music. The exquisite variety of tempo, duration and mood was framed with Chopin’s facility for engaging melody. Fabulous.
First up after the interval were the three Mazurkas, Op.59. In the first, an elegant reverie, the articulation respected the Mazurka pulse, but with enough teasing rubato to beguile the ear. The second is the most waltzlike (and most possibly danceable) of the three and was delivered in a cheerful, brief narrative style. The third, the most overtly Polish of the three, was also the most expressive and characterful, the Mazurka pulse enriched to that of an Oberek.
The ‘meat’ on the menu was the 4-movement Sonata No.2 in B-flat minor, Op.35, a piece of immense drama and gravitas built around its famous third movement funeral march. Ominous Grave chords launched the tempestuous first theme like a Beethoven finale. The contrastingly tender second theme was beautifully pointed. A wild tonally indeterminate bridge hinted at mental turmoil. In the ingenious interplay of the contrasting themes in the development, Ryan delivered passion without undermining structure (not always achieved by pianists). Fiery passion and gentle tenderness are also juxtaposed in the contrasting raging Scherzo and its waltzlike Trio. Both were characterful and engaging. These contrasts prepared us for the grief-laden dirge and its contrasting nocturne-like “reminiscence of happier times” central section. Very moving with dynamics controlled for maximum poignancy. The brief nervous Presto finale is often described as “the wind blowing leaves over the grave”, but I see it as a sotto voce expression of irritated impatience with the persistence of unresolved grief, ending in an enraged cathartic expletive, a view I felt was supported by Ryan’s interpretation. A well-rounded and mature reading that belied the youth of the performer. Thoroughly excellent.
The Variations on ‘Là ci darem la mano’ Op.2 rounded off the published programme. Very much a virtuosic display piece without an ounce of gravitas, it is immensely entertaining nonetheless. An extended grand introduction makes oblique references to the Mozart aria from ‘Don Giovanni’ before a whimsical exposition of the theme. The five variations could be described in turn as sparkling, frothy, dreamy narrative, scampering romp and a hint of the darker side of the Don. The concluding coda, a brilliant parody of a Polonaise, was a thrilling finish. Very enjoyable.
The tumultuous applause prompted three encores, two by Chopin and one wildcard. The ‘Valse Brillante’ in A-Flat Major Op.34 No.1 was followed by the stormy Étude in A minor Op.25 No.11. Ethan Uslan’s ‘Für Elise in Ragtme’ introduced Beethoven to boogie-woogie and the Charleston. Hilarious.
photo credit Jess Shurte eif