Here are some highlights from a wonderful review of my performance of Beethoven’s Piano Concerto No. 3 in C minor with the Buffalo Philharmonic Orchestra this past weekend under the baton of guest conductor Rossen Milanov:
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After intermission came a joyful and unapologetically splashy account of Saint-Saëns’ Second Piano Concerto (the identification of Saint-Saëns as a gay man, by the way, seems to be a matter of conjecture and inference rather than known fact, but it’s not one I’m inclined to dispute). Sara Davis Buechner was a formidable soloist, bringing depth and eloquence to the broad opening movement and gleeful technical assurance to the rapid-fire finger-busting movements — not one but two of them, back to back — that make up the rest of the concerto. Morgan and the orchestra provided nimble accompaniment.
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“The Eduardo Mata Youth Orchestra of Mexico presented Sara Davis Buechner on Sunday the 28th with the first Brahms Concerto, and it is fair to call attention to the splendid performance of these young people under the meticulous guidance of Maestro Gustavo Rivero Weber. They were up to the task of such an extraordinary soloist.
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“88 Keys to Delight” — Review of Sara Davis Buechner at Baruch Performing Arts Center
New York, NY, 25 October 2017
ConcertoNet.com, reviewed by Harry Rolnick
Buechner is a deeply experienced musician with the kind of technique frequently heard downstairs in Carnegie’s main hall; agile, powerful, and exciting. But what really sets her apart is found from the neck up—the program she put together was as thoughtful and superb as her pianism.
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As forms of wordless storytelling, mime and music are sister arts that rarely share a stage. Yet they came together on Thursday evening at Weill Recital Hall. There, the pianist Sara Davis Buechner was joined by the mime dancer Yayoi Hirano in a performance of Jacques Ibert’s “Histoires” in which the addition of spare, precise movements and Noh-style masks deepened the music’s mystery and whimsy.
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“As forms of wordless storytelling, mime and music are sister arts that rarely share a stage. Yet they came together on Thursday evening at Weill Recital Hall. There, the pianist Sara Davis Buechner was joined by the mime dancer Yayoi Hirano in a performance of Jacques Ibert’s “Histoires” in which the addition of spare, precise movements and Noh-style masks deepened the music’s mystery and whimsy.”
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