There has been a great deal of press covering Yuchan Lim, gold medalist of the 2022 Van Cliburn International Piano Competition, and Mr. Lim had done so much performing since his win that he recently suffered a hand injury and was forced to cancel some performances. Such is the price to pay for today’s successful musicians, when air travel allows one to be in three or four different cities within the same week. The silver medalist of that same competition, Anna Geniushene has, perhaps as a result of the reality of the proliferation of piano competitions today, received far less notice in the music world. And so, it was a less-than-capacity audience that greeted Ms. Geniushene as she walked onto the stage of the Vancouver Playhouse for her debut in the city, which did not stop her for giving a scintillating performance of a generous and varied programme.
The young pianist began her recital with Muzio Clementi’s two-movement Sonata in E-flat Major, Op. 1. Ever since Horowitz brought the world’s attention to Clementi, this composer, normally known to piano students as the creator of some charming sonatinas, can now occasionally be heard in piano recitals. Geniushene gave a spacious and rhythmically flexible reading of the first movement, giving much room for the music to breathe, and highlighting the humour within the music. She played the charming second movement with disarming simplicity, giving the feeling of a child romping through a field.
Geniushene gave Chopin’s Rondo, Op. 1 all the charm and vitality the music calls for, bringing alive the dance rhythm in the score, and highlighting the gamut of emotions contained in this short work. Her fantastic pianistic abilities seemingly allowed her to take no heed to the work’s incredible technical demands.
In Mieczyslaw Weinberg’s Wiegenlied, Op. 1, Geniushene gave the work an incredible delicacy called for in the music, giving us an infinite palette of colours even within a relatively narrow dynamic range. She also brought out the fantasy-like character found in much of the music, and used her magical pedalling to create a mixture of colours.
This element of fantasy carried over to her passionate performance of Schumann’s “Abegg” Variations, Op. 1, from the ardour she brought to the opening notes, to the brilliance and panache she played in some of the variations, she successfully wove together the disparate variations to create a beautiful whole.
The first half of the recital ended with a real rarity, Tchaikovsky’s Two Pieces, Op. 1. From the tumultuous beginning of the first piece, with a lyrical middle section, to the boisterous scherzando-like second piece, she identified completely with this music, giving it a committed and utterly convincing performance.
The recital’s second half began with Alban Berg’s lyrical masterpiece, his Sonata, Op. 1. Again, Geniushene believed in the greatness of this work, giving it an idiomatic and impassioned reading, but without sacrificing the clarity in voice leading within the densely woven texture of the work, and infusing the music with the twilight-tinged colours inherent in the score.
She ended her concert with a truly magisterial performance of Brahms’ youthful Sonata in C Major, Op. 1. In her brief introduction before her performance, Geniushene spoke about how Brahms was very much thinking about Beethoven gigantic Hammerklavier (Op. 106) sonata. And indeed, the opening chords of the 1st movement do remind one of the opening of Beethoven’s magnum opus for the piano. Geniushene has a thorough grasp of the Brahmsian idiom, capturing the composer’s youthful ardour, as well as the depth and “bigness” of the sound called for by the music. Her performance of this work reminds me of Robert Schumann’s description of Brahms as a “young eagle”. In the sonata’s second movement, she played the opening with depth of feeling, beautiful voicing of the chords, as well as a real sense of sombreness and solemnity that almost foreshadow the composer’s late piano pieces. The young artist played the 3rd and 4th movements with great ardour, a huge range of emotions and colours, and a technical command and assurance on the level of a Michelangelo. In the 3rd movement, she really brought out the symphonic scope of the music, so akin to the gigantic orchestral scherzi in his symphonies. There was never a sagging in the music tension, and there was an incredible sense of forward motion, all the way to a triumphal ending that left the Steinway limp and the audience exhilarated.
After a justly deserved ovation, Geniushene played Beethoven’s Bagatelle in E-flat Major, Op. 33, No. 1, giving the music all the charm and humour it calls for.
In a recent conversation with a musician friend who enjoys an active concert career, he commented on how differently careers often turn out between the gold medalist of a major competition and the runner up’s. In today’s competitive music world, with competition winners emerging year after year, the lustre of winning even a major prize no longer has the same impact as it once did. It is too soon to tell if Mrs. Geniushene will enjoy a major career - she certainly has the requisite talent and pianism that a career demands. But in today’s highly commercialized music “business” (oh, what a terrible word to be associated with music!), talent rarely equates success. I do wish Mrs. Geniushene well in her musical journey, and hope that she would be appreciated by many in the music world, an appreciation that, judging from yesterday’s performance, she more than deserves.
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