“DETROIT DISC: Hastings shows maturity”
by Mark Stryker, Free Press music critic, April 08, 2007
- see Free Press web page
Joel Hastings' new recordings display his marvelous restraint.
It's been a decade since Joel Hastings, a Canadian-born pianist who trained at the University of Michigan, returned to southeastern Michigan from competing in the 1997 Van Cliburn Competition and began building a career. He won the eighth International Web Concert Hall Competition last year and now plays about 20 recital dates a year. Two new CDs -- one devoted to Liszt transcriptions, the other to Chopin's Op. 10 and Op. 25 Etudes -- document how mature a player he has become.
Hastings has always had tornado-like technique and a virile tone, but in listening to the recordings, I was struck by the expressive nuance he pulls from music that others treat as vehicles for grandstanding. The Liszt CD is particularly valuable because these splendid fantasias wrought from operas by Verdi, Donizetti and Wagner and songs by Schumann, Schubert and others are more imaginative and profound than many realize.
In the "Liebestod" from "Tristan und Islode," Liszt captures the full sweep of Wagner's passion, and Hastings, in turn, fervidly translates the vision without overheating.
In the songs, Hastings spins long, graceful melodic lines. Among recordings of the Chopin etudes, there's stiff competition, but Hastings is persuasive, and although I wished for more poetry, his pianistic control and flexibility generate plenty of pulse-racing excitement.
Liszt Transcending
Chopin Etudes
Flint Journal Review 2008
FLINT, MICHIGAN -- There is something immensely pleasing about hearing some of your favorite pieces of music in a live concert. Thus, Saturday's imaginatively designed piano recital by guest artist Joel Hastings proved to be 90 minutes of memorable music that was terrifically played.
Hastings, who for the past several years has become a semi-regular performer on the "Music at St. Paul's" series, entertained a small but enthusiastic audience with a series of rather familiar pieces, beginning with Mozart's delightful variations on the French tune "Ah, vous dirai-je, Maman" (better known as "Twinkle, Twinkle Little Star").
Despite a tendency to over-romanticize Mozart's style by using tempo changes within each musical phrase, Hastings played the theme with extreme delicacy, a trait that graced all of the subsequent twelve variations. Due to the cavernous acoustics of St. Paul's, with its high-vaulted ceiling, many of the fast-moving runs were a bit obscured in terms of melodic clarity, but otherwise Hastings played with precision and great warmth.
Mendelssohn's "Andante and Rondo Capriccioso" proved to be a real keyboard romp, with the fast rondo section taken at breakneck speed. Equally delightful was Beethoven's beloved "Moonlight Sonata," with the beguiling slow opening movement known to many through countless movies and TV commercials.
Hastings chose a slightly faster tempo than many other pianists, but he still managed to mesmerize the audience. His racetrack tempo in the finale was particularly exciting, with torrents of fast-moving arpeggios emanating from the Steinway keyboard.
In the afternoon's longest work, Australian composer Carl Vine's nightmarishly difficult Piano Sonata No. 1, Hastings proved that he is a major artist.
Despite a rough spot where his memory may have been imperfect, Hastings carried off this challenging work with deft use of the piano pedals and an overall sense of the piano's sonorous capabilities that was enchanting to hear.
Vine is not likely to become a household name on the basis of this work, but as in a previous Flint performance by Cliburn winner Joyce Yang at the FIA in 2005, the sheer audacity of this work's technical requirements makes it a work to reckon with. The audience was obviously pleased with Hastings' fearlessly virtuosic interpretation, because he was awarded a standing ovation at the work's conclusion.
A musical bonus of this highly enjoyable recital was a pair of encores, including Gershwin's piano solo version of "I Got Rhythm" and the Myra Hess transcription of J.S. Bach's organ piece, "Jesu, Joy of Man's Desiring."
In all, this program proved to be a highly successful venture for an artist who deserves to be better known. One can only hope that a larger audience will attend when Hastings returns to Flint in June of 2009 to conclude next season's "Music at St. Paul's" series.
By Dennis E. Ferrara 2008
Over 150 individuals had a rare opportunity to hear Joel Hastings in a piano recital on Sunday March 9, 2008, 3:30 pm, as part of the on going Music at St. Paul’s concert series. Hastings has become a popular artist throughout the years and each new recital presents something extremely musical for beginner as well as for advanced music lover alike.
The overall selections were based on well-known classical piano compositions. Music from the 18th, 19th and 20 centuries was featured throughout this recital. The artist opened with the ever popular Variations on “Ah, vous dirai-je, Maman,” K. 265 (Wolfgang Amadeus Mozart). The composition is based on the French round, “Twinkle, twinkle, little star.” Divided into several variations, Hasting’s clean and concise playing was most evident in this charming Mozart piece for piano. Each variation had different beautiful tonal characteristics and this added tonal variety to the overall interpretation.
The Andante and Rondo Capriccioso, Op. 14 (Felix Mendelssohn) was extremely successful. This artist understands the art of beautiful tone and it was evident throughout. A piece that seems to be easy for the performer is actually challenging because this composition requires not only accuracy but also it requires clean and articulate playing. Hastings displayed both superb attributes.
The Impromptu No. 2., Op. 90, D.899, in G-flat major (Franz Schubert) was an added composition to the written recital program. Needless to say, it was most welcomed. Hastings’ flowing, musical line added much to this more beloved of Schubert’s compositions.
The first half of the program ended with the Sonata in C-sharp minor, Op. 27, No. 2 (Ludwig van Beethoven). This sonata has the world known title “Moonlight Sonata” because of its first movement. It is interesting to note that the composer did not give this sonata this programmatic title; rather, Beethoven’s publisher in Germany arbitrarily created the title. Divided in three movements: Adagio sostenuto; Allegretto and Presto adgitato, this composition has been played throughout the centuries and is needless to say, Beethoven’s most popular piano composition. The artist created a wonderful effect in the first movement with its haunting theme. The light second movement and dramatic third movement were played with much feeling and panache.
Percy A. Grainger. The first selection was the Molly on the Shore. This piano piece was one of many piano works by Grainger reflecting charm, wit and humor. Grainger called his compositions “pieces worked-up for the piano.” Hastings took it at an extremely quick tempo. The Man I Love is one of two popular song ballads of American composer-pianist, George Gershwin that Grainger arranged for piano. The “singing” quality of Hasting’s playing was most evident in this hauntingly beautiful ballad. Subtlety for the musical phrase was here in abundance.
Sonata by Australian composer, Carl Vine closed the recital. A typical atonal 20th century composition, it reflected poly-rhythms, abrasive tonal clusters and unbeautiful harmonies. The pianist played this extremely difficult composition was much flair and fire.
The audience was given two encores: I Got Rhythm (George Gershwin) and the ever-popular Jesu, Joy of Man’s Desiring
(J. S. Bach-Dame Myra Hess). The Gershwin is a popular song which was part of the Gershwin Song Book. The Hess piano transcription is world famous. Both compositions were beautiful interpretations.
Something must be mentioned about the really beautifully voiced and regulated nine-foot Steinway concert D piano that was rented from Hammell Music, Detroit, Michigan, Michigan’s only Steinway & Sons representative. This piano originally came from Carnegie Hall and was utilized for several years in this world-famous concert hall. Hammell purchased it and it is now the touring rental piano for several musical organizations throughout Michigan.
An anonymous sponsor donated monies for its rental. This instrument has a singing quality throughout its registers. The bass end has power and yet it also has a clean tonal quality that cuts through any acoustic. The upper register has a clear bell-like quality that does not pierce. Hammell’s piano technician needs to be congratulated for his highly artistic and professional voicing and fine tuning skills.
by Mike Cookson
- see review at musicweb-international.com
It is a misnomer to think that the top record labels have the monopoly on the most talented performers. Only a few days ago I attended two recitals given by the Lithuanian-born and Paris-based pianist Mûza Rubackyté and was hugely impressed her talents. Another name that springs to mind is Grigory Sokolov who is the most magnificent pianist yet manages to escape the marketing hysteria generated by the giant record labels. Now on these two review discs I am captivated by the superb playing of Canadian pianist Joel Hastings; who is a name new to me. His command of dynamics and characterful performances make him worthy of considerable attention.
Born in Ontario in 1969 Joel Hastings was the winner of the International Bach Competition at the Kennedy Center in Washington, D.C., placed second in the Chicago Chopin Competition and won first prize at the Royal Canadian College of Organists National Competition. In 2006 he was the winner of the 8th International Web Concert Hall Competition, at Rockville, MD.
The first disc is Joel Hastings’s impressive debut CD, titled Sessions recorded in 2001. The sound quality is clear and well balanced. I found the documentation interesting, reasonably informative; although not without error.
In the Rachmaninov scores I experienced the impressive Oriental Sketch briskly played and the rocking and colourful Lilacs at times evocative of an impressionist tone painting. With the Lullaby Hastings resists the temptation to over-sentimentalise; using a calm and gentle approach. The Étude-Tableau No. 1 in C minor is played with drama and vivacity, with episodes of strong passion. The appealing Prelude No. 12 in G-sharp minor contains sturdy dramatic contrasts.
Prokofiev’s Ten Pieces for Piano, Op.12 make delightful listening with Hastings very much at home here. In particular, I enjoyed his lively and powerful interpretation of the March; the restlessly scurrying Rigaudon; the mystery of the rhythmic Capriccio and the frenetic and energetic playing of the Scherzo Humoristique.
Mendelssohn’s Variations Sérieuses in D minor, Op. 54 is an agreeable score that seems to fall into six contrasting sections. I loved the gently restful section at 4:38-5:57; the sacred reverential quality at 7:05-8:48 and the vigorously dynamic playing in the final section that gently and rapidly dies away at 8:49-11:24. In Scriabin’s notorious Sonata No.9, Op. 68, known as the ‘Black Mass’, the soloist conveys a convincingly sinister atmosphere of dark foreboding, generating considerable tension with a quite magnificent concluding section.
The second disc from Joel Hastings, titled Liszt Transcending, is a superbly performed all-Liszt collection of twelve transcriptions, paraphrases and arrangements of works by eight composers. Recorded live, the well balanced disc contains some minor noise on four of the tracks but nothing too obtrusive and audience applause is included at the end of track 11. I found the liner notes interesting to read, providing much essential information.
The opening score is the Concert Paraphrase on Rigoletto where Joel Hastings gradually and expertly builds up intensity and weight. At 4:38 I found the power and drama that he generates especially impressive. The Canadian soloist in the arrangement of Schumann’s Widmung provides considerable refinement and the five Schubert scores Das Wandern, Der Müller und der Bach, Die Forelle, Ständchen and Erlkönig are joyously interpreted with delicacy and good humour.
The appealing arrangements of Auf Flügeln des Gesanges by Mendelssohn is given a performance of tenderness with an impressive lightness of touch and the arrangement of Reminiscences of Lucia di Lammermoor effectively contrasts strength and vitality with tenderness. I love the way he accelerates the tempo superbly and seamlessly from 5:16-6:07. Liszt’s arrangement of Wagner’s mighty Isolde's Liebestod from Tristan und Isolde is powerfully performed with an abundance of high drama.
The arrangement of the Sarabande and Chaconne from Handel’s Almira is robust and lyrical played in a highly Romantic style and in the final score on the disc, Giovanni Sgambati’s transcription of the Melodie from Gluck’s Orfeo ed Euridice, the soloist provides an unhurried reading of compelling tranquillity.
This is high calibre playing from Joel Hastings a pianist who is worthy of considerable attention. These two releases deserve a place in any collection of instrumental music.
Michael Cookson
“Brilliant pianist performs at St. Paul’s”
by By Dennis E. Ferrara
East Village Magazine (Nov, 2006)
Various adjectives may be used to define the word “brilliant” including “peerless,” “flawless” and “perfect.” These words best describe the playing of Canadian-born concert pianist, Joel Hastings, who performed at St. Paul’s Episcopal Church, 711 S. Saginaw St., Flint as part of Music at St. Paul’s concert series Nov. 19.
There were over 135 people at the concert. So far, this was the largest audience for the series.
Hastings opened his recital with a series of five short sonatas of 18th century Italian composer, Domenico Scarlatti (1685-1757) including: Sonata in E major, K. 496; Sonata in B minor, K. 173; Sonata in A minor, K. 7; Sonata in F-sharp minor, K. 44;7 and Sonata in F-sharp major, K. 319.
The pianist’s tempos were crisp and the playing extremely clean and vigorous. The programming in opening a recital with these delightful sonatas remaindered one of the late Vladimir Horowitz who during the last five years of his career opened the majority of his recitals with a series of Scarlatti sonatas. Scarlatti wrote over 400 such keyboard sonatas and the variety of color tone is endless.
Hastings selected the Sonata in D major, K. 576, of Wolfgang Amadeus Mozart (1756-1791). Being Mozart’s last sonata, it is also one of his most difficult due to its contrasts of soft-loud ornaments and dexterity. Hastings gave a beautiful performance with much color within the sonata’s three-movements: Allegro; Adagio; Allegretto. His tone was subtle, clear and balanced.
The music of Edvard Grieg (1843-1907) has always been popular with concert audiences throughout the world. Its charming, melodic lines reflect the musical climate of Grieg’s 19th century Norway.
The Holberg-Suite, Op. 40 (1884) is best known in its orchestral form. However, few people realize that Grieg also composed an excellent piano score of the suite into Praeludium; Sarabande; Gavotte; Air and Rigaudon.
Hastings’ sense of tonal balance was in evidence throughout the entire suite. Beautiful phrasing, nuance, color and sensitive use of the sustain pedal were characteristics of the pianist’s over-all interpretation.
After a short interval, the artist opened the second portion of the recital with three diversified compositions of Frederick Chopin (1819-1849): Polonaise in F-sharp minor, Op. 44; Impromptu in F-sharp major, Op. 36 and Grand Waltz in A-flat major, Op. 34, No. 1.
Chopin offers much tonal variety for any audience. Hastings’ selection was noteworthy. It is also interesting to note that F-sharp was the tonal key selected throughout the recital.
Hastings’ tonal pallet was rich with various levels of subtle shadings. The Polonaise was bright, exciting. The Impromptu offered a variety of nuance and the Grand Waltz was a balance of the dramatic combined with the flavor of the dance.
The Symphonic Piano was well represented by the colossal transcription of the Overture to Tannhauser by Richard Wagner (1813-1883) as transcribed by Franz Liszt (1811-1886). Liszt’s daughter, Cosima, married Wagner, and Liszt throughout his later career sponsored and championed Wagner’s works. In fact, he transcribed 15 operatic fantasias and paraphrases of his son-in-law’s works.
The Overture to Tannhauser is perhaps the longest and most difficult to perform. Needless to say, Hastings played it with grand bravura, panache and with the highest type of piano virtuosity. The major theme appeared throughout this entire transcription. At times, Hastings’ brilliant technique created an illusion of a third hand playing the melody with outer melodies being played in the bass and treble of the piano at the same time.
After such a display of virtuosity, the artist returned and performed the beautiful and sedate Gondola Song in A by Felix Mendelssohn. This short piece was composed in 1837 and it is not a part of any volumes of Songs Without Works. The pianist played it with much beauty and an artistic use of the sustain pedal.
Each season when this sterling artist returns to Flint, it become apparent that Hastings is constantly growing as he sculptures the musical phrase, broadens his sensitive interpretations and creates more beautiful sounds with his artistic use of the sustain pedal. This is an art unto itself.
However, one major question remains. Why this superb talent is not on major circuits and performing throughout the United States, Europe and the far and near East? Hastings has three CD’s available including one recital of select works of Liszt and the complete etudes of Chopin. His CD’s may be obtained through his web site at www.joelhastings.com.
“Young pianist impresses again”
by Laurence E. MacDonald
The Flint Journal (Nov.20, 2006)
Ever since he performed in Flint as a Byrd competition finalist in 1995, pianist Joel Hastings has impressed local music fans with his keyboard virtuosity on several occasions.
His solo performance Sunday, presented in the "Music at St. Paul's" series at St. Paul's Episcopal Church, confirmed without doubt that Hastings is among the most accomplished classical pianists of our time.
With extreme nimbleness, Hastings led off a richly varied program with five short sonatas by the early 18th century composer Domenico Scarlatti. Each of these short works featured delicately executed melodic ornaments and nice dynamic shadings.
Especially charming was the third piece, the Sonata in A Minor, with abundant trills and runs that often featured intertwined hands.
Equally impressive was the rendition of one of Mozart's final piano works, the Sonata in D Major, K. 576. The fast-paced opening movement featured many scale-like runs, all flawlessly executed.
In the lyrical slow movement, Hastings created a reflective mood that was mesmerizing.
In the fast finale, he showed masterful control by avoiding over-pedaling.
In St. Paul's cavernous acoustics, Hastings' performance was carefully sculpted for maximum clarity of line.
The "Holberg suite" by Romantic period composer Edvard Grieg, was a fine showcase for Hastings' abilities as a technician and an artist.
From the rambunctious opening prelude to the set of four dances that followed, the large audience was treated to piano playing of exquisite skill.
Especially memorable was the lovely "Air," with a sensitive rendering of the haunting main theme.
After the intermission, Hastings launched into a set of pieces by Chopin, including a rousing Polonaise in F-sharp minor, followed by a lyrical Impromptu, Op. 36, and the lilting Grand Waltz in A-flat. In this last piece, Hastings' nimble scale passages filled the church with delightful sounds. The effect was sometimes blurred by the acoustics, but the result was charming.
The final work on the program, Franz Liszt's transcription of the Overture to Wagner's opera "Tannhauser," was also the most pianistically impressive.
From the opening rendering of the "Pilgrim's Chorus" theme, Hastings' performance was simply dazzling.
Among the most impressive moments was the middle section, in which he stormed through a lengthy passage in which the right hand layered intricate fast-moving tones over the left-hand melody.
By the end of the work, there was no one in the audience with any doubt regarding Hastings' pianistic talent.
Although Flint audiences have made the standing ovation an overly common method of appreciation, the use of it here was richly deserved.
The disc has 10 tracks of Prokofiev works (you can never have too much Prokofiev), which illustrates not just his mastery over the most difficult piano technique, but also his stature as an artist. His control and depth of expression go from the introspective beauty of Legend to the aggressive, primitive stomping of the Allemande. This latter piece brought to mind an illustration in one of my childhood books of the hut of Baba-Yar dancing about on huge chicken legs.
Hastings magnificently polishes off Mendelssohn’s Variations Serieuses in D Minor, Op. 54; Scriabin’s Sonata No. 9, Op. 68; and Liszt’s fiendishly difficult Totentanz.
Were I listening to this without knowing the artist, I would have guessed it to be the work of a top-tier pianist such as Evgeny Kissen or Sviatoslav Richter. Hastings definitely falls into the category of world-class performer.
“Joel Hastings, Sessions”
by Jeannette Luton-Faber, Ann Arbor Current Magazine, April 2003
- see Electric Current web page
I don’t often wax rhapsodic over new releases, but this offering by superb native Canadian and local classical pianist Joel Hastings is one worth burbling over.Generally our musicians put together well-done, enjoyable recordings. Hastings, however, presents the work of a true artist in this new album, Sessions.
Upon my first listening of the Rachmaninoff compositions, which comprise the first five tracks, I was set back on my heels by the impeccable virtuosity and musical inspiration underlying Hastings’s interpretation. His astonishing evenness of tone brings out the shimmer of Lilacs and the contrasting virility of the Etude-Tableau, Op. 39, No. 1.