A Haydn fluid and surprising

Zhu Xiao-Mei is a Chinese pianist who was a victim of the Cultural Revolution; she also wrote his biography, published in French, the river and its secret oF Mao camps Bach: the destiny of a great woman, and she recounts her experience of totalitarianism. She lives and teaches in Paris for thirty years. Mirare The label released in 2008 that Haydn disk (comments in French, English and German) which includes sonatas No. 38 in F major Hob.XVI.23, No. 53 in E minor Hob.XVI.34, No. 60 Hob.XVI.50 in C major and No. 62 in E flat major Hob.XVI.52 plus Variations in F minor Hob.XVII.6. It is well known works, most of which were recorded by Alfred Brendel Haydn: Piano Sonatas 11 in its box.

Although played modern piano, Haydn Zhu Xiao-Mei is nothing conventional. The game of Chinese pianist is fluid and moving towards fleeting perspectives, it is full of surprises, even rhythmic irregularities. The contrasts are well marked, but are not limited to the opposition between successive episodes as often with Brendel: there would be more like a curl. It is certain that this style requires you get used, because it is not as clearly highlights the architecture, stability and the progress of the speech Brendel (or Backhaus for the Sonata in E flat major). Some slow movements, such as the Sonata in C major, attacking a strange character at first listen, almost all surprise those accustomed to the old interpretations. This game that takes risks is not at all a confused and unstructured play: extraordinary technical mastery of Zhu Xiao-Mei that she never strays and still maintains the coherence of his speech, even if it is complex. It is interesting to follow what is expressed his left hand, but of course the rhythmic cohesion between the two is assured at all times.

Overall tempi are fast enough, but this is not the case for the final Presto of the Sonata in E flat major No. 62, who lost his spirit and becomes introverted. Can we say that Zhu Xiao-Mei has a lunar game while that Brendel is solar? Overall, movements in which Haydn good mood appears, including the Finals, suffer from a deficit of gaiety. That's the only thing you can blame these interpretations. The sound is excellent.