Duo SHU: Duo SHU
Blue Griffin Recording

Duo SHU's eponymous debut album is the culmination of the many years cellist Yi-Wen Zhang and pianist Nanyi Qiang have played together. The two formalized their partnership three years ago in Ohio, but their collaboration originated in 2002 when they began their musical journeys as children in Chengdu in the Sichuan province of southwestern China. Today, they're US-based, with Zhang holding the title of Junior Director of Cincinnati Young Artists and Qiang an Assistant Professor of Piano at Central State University in Ohio. Both are award-winning musicians who've performed in solo and chamber recitals throughout the US, Canada, and China. While works for cello and piano by six diverse composers are featured on the album, many of the pieces are united by a soothing warmth and romantic tone. Melody is central to the recording too, as exemplified in the duo's performances of material by Gabriel Fauré, Robert Schumann, Sergei Rachmaninoff, Antonín Dvorák, and Béla Bartók. Rounding out the selections is the commercial recording debut of Weijie Gao's Longing for SHU.

Two early Fauré songs lead off the album, with Zhang's singing cello partnering with Qiang's graceful support for Les Berceaux, Op. 23, No. 1. The originating text for the piece has to do with ships and cradles rocked by the ocean and women, respectively, which helps account for the music's gently lilting character. The delicate Aprés un Réve, Op. 7, No. 1 follows, its mood suitably entrancing and the duo voicing their parts with intense feeling. The only work for cello and piano by Schumann, Fünf Stücke im Volkston Op. 102 (Five Pieces in Folk Style) was composed in 1849 and premiered a year later by Andreas Gabau (to whom it was dedicated) and Clara Schumann. Predictably, the parts span an array of styles and moods, with the spirited “Mit Humor ‘Vanitas vanitatum'” setting a playful tone and contrast setting in when “Langsam” opts for tender lyricism. While “Nicht schnell” (not fast) is highlighted by the cellist's expertly executed double stops, “Stark und markiert” brings the work to a rousing finish with high energy and triplet rhythms.

As its title intimates, Rachmaninoff's “Vocalise” (1912) was originally composed for voice and piano with no words. The final one of the composer's 14 Songs, Op. 34, the heartfelt tone of the piece draws from the musicians one of the album's most affecting performances. Playing with restraint, Zhang exploits to the fullest the song's haunting melodies and sense of longing. As touching is Dvorák's 4 Romantic Pieces, Op. 75, B. 150, its tender opening “Allegro moderato” particularly beautiful. As if anticipating the later piece by Bartók, the “Allegro maestoso” includes a rousing peasant dance; the concluding “Larghetto” naturally differs in tone, with the duo effectively bringing the music's forlorn quality to the fore. Bartók's animated Romanian Folk Dances provides a fitting end to the release. Drawing for inspiration from Romanian fiddle tunes and Hungarian dances, the six pieces are effervescent vignettes that aren't so short they don't leave an impression, the slinky, mouse-like “Pe loc (In One Spot)” a good example.

January 2022