Joseph Moog - 24th Singapore International Piano Festival

Concert Programme

Joseph Haydn – Fantasy in C major, Hob. XVII: 4

Frédéric Chopin – Piano Sonata No. 2 in B flat minor, Op. 35

Claude Debussy – 12 Etudes, L. 136: Livre I

Franz Liszt – Hungarian Rhapsody No. 12 in C-sharp minor, arranged by Joseph Moog

The Haydn Fantasy was performed with compelling musical understanding. Joseph Moog was able to distinguish and execute the importance of line over individual notes. This seemingly amateur concept is in fact extremely complicated to achieve and requires a constant re-painting of the ‘big picture’ in the mind’s eye, whilst drilling at details. I myself find this an arduous and torturous task as seeing the grand scheme is certainly not my forte. Joseph Moog however was able to perform with such clarity of not only singular notes, but more importantly was able to characterize each gesture and phrase. Every line and phrase represented something different than before, whether in terms of tone color stemming from the concept of various instruments of the orchestra that was so clearly brought out, or by the understanding of the unique colors each register of the keyboard encompass. Another quality that I enjoyed of his playing is the intelligent balance and voicing, acknowledging hidden ‘melodies’ in the left hand that would have passed by unnoticed.

The Chopin Sonata was again performed with an understanding of the over arching musical idea. This was particularly effective in affirming and adding on to certain atmospheres and moods in a phrase. However, I was now uncertain as to whether this would be the best interpretation for the Sonata, as certain notes that ought to have discerning colors were not as clearly brought out as I hoped. Another thing that puzzled me was the ‘over-importance’ Joseph Moog placed on the left hand. While it was understandable in the context of Bach or even Haydn, it seemed inappropriate for a composer like Chopin. The left hand for the first and second movement was considerably overpowering the right, where the melodies take place. This was especially apparent when the left hand plays loud chords when it is still clearly is an accompaniment of the right. Perhaps this is his own unique interpretation of the piece, but I do not find it potent. The funeral march was indeed played like a ‘march’ with metronomical rhythmic sense, even in the beautiful lyrical section. Unfortunately, I was again unconvinced of this interpretation as although a steady pulse at the back of one’s mind is essential, rubato could and should be used to contribute to a greater emotional impact, and in this case the imitation of singing quality of the line should not, I feel, be performed rather metronomically. However, I was surprised by the double voicing that was brought out in the right hand of the section as well.

The Hungarian Rhapsody was arranged by Joseph Moog himself and was especially rousing. Again, I must emphasize his very obvious talent at recognizing elements that constitute a piece. In this case, he was able to identify them, such as the fundamental melody, characteristic rhythms and harmonies by Liszt, making his arrangement extremely authentic and tasteful. These elements were then highlighted by the insertion of countless embellishments that added to the virtuosic elements of the arrangement. This also intensified the emotions of the piece by ‘exaggerating’ these characteristics and widening dynamic range.