Lydia Yu-Lun Yang’s pure flute tone helps solo work bloom

By: Gwenda Nemerofsky Posted: 1:00 AM CDT Tuesday, Apr. 27, 2010

THE flute is a versatile instrument. Composers often use it to mimic birds, taking advantage of its range and the ability of its notes to float as if suspended in air. But the flute can also be powerful, passionate and authoritative.

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Hey there, time traveller!
This article was published 27/04/2010 (6001 days ago), so information in it may no longer be current.

Chinese flutist Lydia Yu-Lun Yang made her Canadian debut Sunday night at the Women’s Musical Club of Winnipeg’s final concert of the season. Longtime collaborator, New York pianist Peter Vinograde accompanied her.

Yang opts for a tempered approach to flute playing. In Carl Reinecke’s Sonata "Undine", op. 167, a work based on the water spirit, Yang was effectively nymph-like with her pleasant tone and light, lyrical playing. But nymphs can also be playful. More assertive character would have enhanced the allegro, bringing it to life. Vinograde on the other hand, was water personified, bubbly and flowing.

Yang’s quick notes in the intermezzo were delicate and dancing, but still lacked conviction. The andante, which called to be played lovingly, was instead rather cool.

Nowhere was Yang’s restraint more evident than in the finale. Amid Vinograde’s fiery piano reading, executed with commitment and generous nuance, her reserved rendition seemed almost without expression. Little dynamic range and limited sentiment left the best part of the music on the page.

The most delightful work on the program was a fascinating arrangement of Mozart’s Symphony No. 40, K. 550. Hummel transformed it into a charmingly effective chamber work scored for flute, violin, cello and piano. Violinist Karl Stobbe and cellist Minna Rose Chung joined Yang and Vinograde for the four vibrant movements.

Chung is a bright light on the Winnipeg cello scene, her intelligent musicality and rich resonance valuable additions to any ensemble. Both Chung and Stobbe were totally devoted to this performance, playing with admirable gusto. They seemed to be having fun.

Yang seemed more comfortable in this role of ensemble member and her sweet sound blended well. Vinograde showed great versatility, employing just the right touch — the glue that kept things together.

Flutist Mizi Tan’s Flute and Drum Under the Setting Sun was a perfect vehicle for Yang. Delicately rendered, this solo work bloomed with her lengthy, seemingly breathless phrases and pure tone. A special effect was achieved by slapping the keys down percussively. The audience was entranced by this atmospheric work.

Georges Hue’s Fantaisie is a true flutist’s piece, showing off what the instrument does best. Yang gave this a good reading, shaping each phrase with care and using well chosen, if not pronounced expression.

Glimpses of passion subsided all too quickly, but runs were solid and rippling. The reliable Vinograde set Yang up as best he could, but even her final note couldn’t muster the flair it deserved.

gwenda.nemerofsky@shaw.ca