Drehpunkt Kultur

by Heidemarie Klabacher

(...) Yu Kosuge put tremendous energy into the crescendos, which she increased in
a controlled manner, and also into the expressive, but not loudly hammered,
forte passages of the "Maestoso" in Frédéric Chopin's Concerto for Piano and
Orchestra No. 2 in F minor, op 21st. In the slow movement "Larghetto" it was
so quiet in the hall, one could have heard the proverbial pin drop. This
proved just how concentrated, how perceptibly spellbound the audience was by
this subtle yet powerfully woven pianistic netting. This striking "non
coughing" was actually more than a compliment: it showed that here was an
artist who had gripped her audience. Rollickingly like Rumpelstiltskin, Yu
Kosuge then plunged into the various Polish dance rhythms of the rondo.

The Chopin concerti are virtuosic concerti, therefore the orchestra
naturally plays the second fiddle to the soloist. For Yu Kosuge the
orchestral part was still much more than a precious tapestry of sound,
rolled out for her to display her showmanship on. The many small and
smallest dialogues of the solo piano with the woodwind - especially with the
bassoon, but also with the clarinet - were touching moments of intense
musical exchange. After the intermission, Yu Kosuge sat in the audience and
cheerfully signed autographs.