Tuesday 21 May 2024



VCHpresents Chamber
Victoria Concert Hall 
Sunday (19 May 2024) 

This review was first published on Bachtrack.com on 20 May 2024 with the title "Pavel Haas Quartet’s triumphant, all-Bohemian Singapore debut".

This has been a bumper year for Bohemian music in Singapore. Either visionary planning or pure happenstance might explain the performance glut, including Dvorak’s Piano Trio No.3 (by Aoi Trio, Japan) and Piano Quintet No.2 (More Than Music, Singapore), Smetana’s Piano Trio and Dvorak’s String Quintet No.2 (Singapore Symphony musicians), all within a space of few months. Now cue the Singapore debut of multiple Gramophone Award-winning Pavel Haas Quartet from Prague, undoubtedly the jewel in the crown. 

Established in 1992, its present iteration of violinists Veronika Jarůšková (the sole remaining founding member) and Marek Zwiebel, violist Šimon Truszka and cellist Peter Jarůšek showed exactly why the quartet’s recordings have been so highly rated. Live and in person, PHQ sounds even better. In Josef Suk’s Meditation on the Old Czech Chorale “St Wenceslas” serving as a prelude, refined and smooth-as-silk playing was immediately apparent, from the opening viola voice and when the others joined in. Gossamer lightness soon built up arch-like in intensity, to a passionate climax resembling Samuel Barber’s famous Adagio. As Czech nationalism’s rallying cry during the Second World War, there could not have been a more poignant statement. 

The main programme showcased two autobiographical works, the first being Bedřich Smetana’s First String Quartet, “From My Life”, a heart-on-sleeve account of personal trials and tribulations. The opening E minor chord, resolute and defiant, set the dramatic tone, coming with brutal honesty without being histrionic. One could just admire and wallow in the rich sonorities, with suppleness and malleability of textures being added extras. The second movement’s Allegro moderato a la Polka was pure and unadulterated joy, punctuated by pauses which bear special significance later on. 

The slow movement was treated as the work’s vital beating heart, with lyrical solos from cello and first violin, and a big passionate chordal statement to hammer home the point. As the foursome literally flew out of the traps for the finale, what could put a halt to its irrepressible gaiety? The hitherto carefree ride would encounter that fateful pause, the terminal speed-bump, with Jarůšková’s violin “stricken” with high-pitched tinnitus. This was Smetana’s musical representation of irremediable deafness, borne of untreated syphilis. With this final damper, the work closed on subdued pizzicatos. In this unforgettable performance, PHQ showed what life was all about. 

The second autobiographical work was Leoš Janáček’s Second String Quartet or Intimate Letters, inspired by an unrequited love for a married woman 37 years his junior. The married Janáček wrote over 700 letters to Kamila Stösslová, whom he met in 1917, until his death eleven years later. Unlike Smetana, Janáček’s secrets were not so readily revealed. His stock-in-trade musical idiom, of repeated short motifs, harmonic dissonances, jagged ostinatos and a rare transcendent lyricism, would dominate in this four-movement underrated classic. 

Sul ponticello (bowing near the bridge) effects lent a wiry and uncomfortably edgy resonance, colouring the mood of the score. Also ear-catching were moments alternating between discordance, melody and whimsicality, seemingly random but reflecting the composer’s conflicted state of mind, flailing between turmoil and torment. While not an easy listen, PHQ’s virtuosity and unstinting advocacy made for a totally gripping experience. After so much freneticism, the sole encore was a welcome balm, in Dvorak’s Ó duše drahá jedinká (Thou Only, Dear One), the ninth of his Cypresses

This review is dedicated to the memory of Jiri Heger (1946-2023), former principal violist of the Singapore Symphony Orchestra and true-blooded Bohemian. He would have absolutely loved this concert. 

Star Rating: *****

The original review on Bachtrack.com may be read here:




Another month, another soiree. This one was, however, slightly different, being guests of Germany's Head of Culture, Press and Public Diplomacy in Singapore, Ying Huang at her lovely townhouse in Joo Chiat.

It's been a hot and sultry month of May, and what better way than to celebrate it with a liederabend (evening of song): a performance of Robert Schumann's Dichterliebe (A Poet's Love, Op.48, with words by Heinrich Heine), its first song being Im wunderschoenen Monat Mai (In Wonderful Beautiful Month of May). The singer was young local tenor Shaun Lee, partnered by none other than Ying herself. 

They performed all 16 songs, and Shaun was praised for his sung German by the many German speakers in attendance. Ying was a keen virtuoso accompanist as well, mastering much of Schumann's tricky but idiomatic piano writing. 

It was a lovely evening with wine, cheese, crackers, muffins, curry puffs (Polar, no less) and pizza, but most important of all was the company of like-minded people who love culture and the finer things in life. 

It was most sporting to have the
printed texts in both German and English!
Cultural diplomacy at its best.

There was even time left over for
Ying and Pianomaniac to sight read
movements from Schubert's Trout Quintet.

Monday 20 May 2024

SMETANA AND DVORAK / VCHpresents Chamber / Review


VCHpresents Chamber 
Victoria Concert Hall 
Friday (17 May 2024) 

This review was published in The Straits Times on 20 May 2024 with the title "Warm evening of Bohemian rarities at SSO's chamber concert."

Was it good planning or mere coincidence that this year has been a boon for lovers of Bohemian music? Concertgoers might remember superb performances of Antonin Dvorak’s chamber works: Japan’s Aoi Trio in his Third Piano Trio (Op.65) and More Than Music & Friends in the Second Piano Quintet (Op.81). 

Sunday will see the Singapore debut of the Prague-based Pavel Haas Quartet in music by Josef Suk, Bedrich Smetana and Leos Janacek, but this evening’s offering by members of the Singapore Symphony Orchestra should be remembered equally fondly. 

Smetana (1824-1884) is known as the “Father of Czech musical nationalism”, with tone poem Die Moldau (or Vltava) from the orchestral cycle Ma Vlast (My Country) being his best-loved work. Attended by a well-filled house, the 200th anniversary of Smetana’s birth was commemorated with the rare performance of his Piano Trio in G minor (Op.15). 

Composed after the tragic death of his daughter from scarlet fever, the music exuded sadness, opening with violinist Ye Lin’s impassioned solo. Throbbing chords from pianist Albert Tiu added to the pathos while cellist Christopher Mui’s lyrical lines provided a more calming influence. 

The threesome worked very well together, even if the work often highlighted the violin. Ye’s robust tone and flawless intonation seemed symbolic of Smetana’s representation of feminine pride and dignity, which was lent a poignancy through his daughter’s loss. 

The Scherzo was more light-hearted, with a folk dance-like quality, later transforming into something more stately without making a grand statement. The Presto finale fired on all cylinders, with pianist Tiu’s prestidigitations dictating the pace. Cellist Mui’s big melody almost stole the show, before the main theme ground into a slow funeral march. 

OK, who just farted?

Everything's alright,
it was just the VCH ghost!

The brilliant close to the trio got the plaudits its deserved from an unusually mature and sophisticated audience, on a rare evening which had neither fidgety children, errant handphones nor inappropriate clapping between movements. 

The rarities continued into the second half with the Second String Quintet in G major (Op.77) by Dvorak (1841-1904), performed by violinists Chan Yoong-Han and Sayuri Kuru, violist Gu Bing Jie, cellist Ng Pei-Sian and bassist Yang Zheng Yi. The unusual scoring with string quartet backed by double-bass translated into music of genuine congeniality, not unlike that experienced in Franz Schubert’s Trout Quintet

Thus its four movements radiated warmth and mellowness which never overstayed their welcome. The opening movement bristled with vigour, contrasted by a Scherzo which was not so much a joke, but a play on listeners’ expectations. Tempo and rhythmic shifts, skilfully handled by the players, had one wondering whether this was a dance, or something more serious. 

The slow movement oozed Slavic intensity. Violinist Chan and cellist Ng strove to maintain its melodic lines and did so gloriously. The finale’s driving rhythms, with ensemble at full throttle, ensured this Bohemian rhapsody closed with highest possible of spirits.

Monday 13 May 2024

MOTHER'S DAY CONCERT 2024 / Singapore Chinese Orchestra / Review


Singapore Chinese Orchestra 
Singapore Conference Hall 
Friday (10 May 2024) 

An edited version of this review was published in The Straits Times on 13 May 2024 with the title "Singer Chyi Yu lights up SCO's Mother's Day Concert".

One fixture on the concert calendar the Singapore Chinese Orchestra has cornered is Mother’s Day, falling on every second Sunday in May. SCO’s Mother’s Day Concerts are typically events with light music, usually of a nostalgic kind. Led by principal conductor Quek Ling Kiong, this year’s offering had several differences. 

First, the concert did away with loquacious hosts preaching unending filial piety, relying instead on Quek’s straight-talking manner, not without humour in his own right. Second, the programme separated serious music from popular fare, with an intermission intervening in between. 

Opening with Lullabies arranged by Sim Boon Yew, this medley strung together cradle songs from different cultures. Franz Schubert and Johannes Brahms’ famous examples sat cheek-by-jowl with several Chinese ones before closing with the American favourite Hush, Little Baby. A departure from the first piece being a rousing one, this ran the risk of prompting listeners to near slumber. 

Just as sweetly rendered was Zhao Jiping’s Homeland Nostalgia from Cantonese Rhyme Along The Silk Road, which incorporated three Cantonese melodies, including Beautiful Clouds Chasing The Moon. Important solos by Zhao Jianhua (erhu), Fontane Liang (harp) and Yu Jia (pipa) lit up the proceedings. 

The Nanyin classic The Plum Blossom Story that followed, arranged by Law Wai Lun, was in the form of a pleasant symphonic poem. Its melodic charm and colourful orchestration may not be readily associated with Mother’s Day, but the feel-good quotient and animated close made it a suitable choice. 

The second half of popular music was the main reason why both evenings had been sold out. Also arranged by Law was Stars in the Sky, a delectable medley of five hit-songs by famous Taiwanese composer and song-writer of indigenous Amis origin Li Tai-hsiang (1941-2014). These included Answer, Walking In The Rain, Sunshine Avenue, Olive Tree and Farewell

Olive Tree, with its quasi-modal melody redolent of 1970s pop/folk songs, was his stand-out work. Arranged by Ong Jiin Joo, it received a separate performance by well-known Taiwanese chanteuse Chyi Yu. Once Li’s protege and sometime sister-in-law, this contemporary of the late Teresa Teng, now in her mid-60s, has retained much of her vocal prowess and stage presence. 

In Lo Ta-yu’s The Song of the Boat, arranged by Phang Kok Jun, the music’s progressive crescendo was well sustained by Chyi despite the orchestra’s rise in volume. For Chan Yiu-Chuen’s Flower of the Woman, notably covered by the late Anita Mui, Chyi impressed with dulcet tones and excellent pitch. 

All this made the inclusion of Andrew Lloyd Webber’s Memory (from Cats) seem superfluous, but Chyi’s pronunciation was more than acceptable, hitting the sweet high spots with aplomb. 

Closing the evening was the concert’s only overt tribute to mothers, Wang Mon Ling’s Mother, My Love To You, with the audience whipping out their handphones and shining along. Her encore of Li’s Stars in the Sky that followed, accompanied by harpist Liang, drew the heartiest and loudest applause.

Wednesday 8 May 2024


Witness two of Singapore's greatest pianists perform. Melvyn Tan and Churen Li represent two different generations of Singaporean pianism. Melvyn left Singapore as a pre-teen to study in UK (Menuhin School and Royal College of Music) during the 1960s, while Churen was entirely home-grown, having completed her undergraduate years at the Yong Siew Toh Conservatory and further degrees at Yale and Cambridge. 

In their first collaboration together, one could scarcely tell their age-gap (about 40 years) but just appreciate two great musical minds at work, in this ground-breaking performance of Igor Stravinsky's The Rite of Spring on two pianos. 

One can only wonder what it was like witnessing Stravinsky and Debussy playing this music in a reading at Satie's home back in 1912. The performance on 27 October 2023 at Yong Siew Toh Conservatory, part of the Performers(') Present Symposium would come close to it, or perhaps even better that.


(4) Melvyn Tan x Churen Li: Dances & Dreams – Rite of Spring| YST Performers(') Present 2023 - YouTube

Tuesday 7 May 2024

MEGAN LOW Violin Recital / Review


MEGAN LOW Violin Recital 
with Cherie Khor (Piano) 
Esplanade Recital Studio 
Sunday (5 May 2024)

This review was published in The Straits Times on 7 May 2024 with the title "Award-winning violinist shows eclectic artistry".

The Goh Soon Tioe Centenary Award is an annual monetary prize benefiting young string players at the dawn of their professional careers. Named after Singapore’s pioneering musician, pedagogue, conductor and entrepreneur Goh Soon Tioe (1911-1982), notable past recipients have included violinist Alan Choo and guitarist Kevin Loh, who have become musical pioneers in their own right. 

Violinist Megan Low, the 2023 awardee and final year student at the Yong Siew Toh Conservatory, looks to join this illustrious roster. Her 90-minute solo recital partnered by pianist Cherie Khor was an impressive showcase of eclectic artistry and understated virtuosity. 

Opening with Johannes Brahms’ Violin Sonata No.1 in G major (Op.78), any hint of visible stage anxiety or nerves was dispelled by a quiet confidence that shone through. The highly-exposed melodic line came across with purity of tone and excellent intonation. 

Although much of the German composer’s chamber music is dominated by dense piano textures, Low was never cowed and the performance became a true partnership of equals. The sonata’s final movement, based on his darkly intense Regenlied (Rain Song), exuded a nervous tension that never flagged until its subdued end.

Photo: Gilbert Chan

Low’s solo segment dropped the usual suspects of J.S.Bach, Paganini and Ysaye, instead opting for Ukrainian composer Myroslav Skoryk’s Caprice (1964). This thorny 5-minute exercise encompassed all of the former composers’ tricks of the trade, including chromatic passages, multiple-stopping and piquant pizzicatos, before rounding off with a vigorous folk-dance. 

Photo: Gilbert Chan

Accomplished with heady aplomb, this led to another rarity in Fritz Kreisler’s Viennese Rhapsodic Fantasietta, possibly its first public performance in Singapore. Opening with a dizzying cadenza of almost indeterminate tonality, the music eventually settled in a comfortable E flat major. 

Here the romance began, its easy gemütlich (pleasant and cosy) air lovingly voiced by Low, later giving way to that echt-Viennese of movements, the irrepressible waltz. Composed in 1932, its harmonic opulence and carefree mood - brilliantly captured - belied the years of darkness and doom to come. 

The sense of foreboding eschewed in the Kreisler would appear in Henryk Wieniawski’s Faust Fantasy, based on popular themes from Charles Gounod’s eponymous opera. Some consider this work discursive and overlong, but the duo kept the narrative alive with playing that was always on the edge. 

An opening piano solo gave way to the violin’s cadenza that established its virtuoso credentials, before waxing lyrical in a series of arias. The demonic aspect reared its head in Mephistophele’s Song of the Golden Calf (Le veau d’or), where the temperature rose to such heights as to prompt a premature outburst of applause from the audience. 

The definitive close came with the familiar Waltz (Ainsi que la brise legere), where Low obliged with its outrageous sequence of harmonics and scales. It was not all immaculate but the audience got the idea, according the performers with the most vociferous approval possible.

Photo: Gilbert Chan