FIRST LIGHT OF FANTASIAS / Poom Prommachart and Friends / Review

 

FIRST LIGHT OF FANTASIAS

Poom Prommachart & Friends

Lee Foundation Theatre

Sunday (7 December 2025)

First Light of Fantasias was effectively the debut recital of young Thai pianist Poom Prommachart after being confirmed as the Head of Music at Nanyang Academy of Fine Art’s School of Young Talents (SYT). His appointment brings Poom’s musical career a full circle, having been an undergraduate at NAFA’s School of Music some sixteen years ago, before a globetrotting “career” as professional student that took him to further studies in London, Moscow and Montreal.

His recital opened with Chopin’s Nocturne in E major (Op.62 No.2), which was the Pole’s final in essay in this medium before his untimely demise from ravaging consumption. Arguably his finest nocturne, it received a clear-headed reading that combined lyricism with a chromaticism that looked forward to the nocturnes of Gabriel Faure. One cannot imagine it more beautifully performed in Poom’s hands.

He was joined by Singaporean pianist Marianne Huang Yueyin, a fellow teacher at SYT, in a quirky four-hands transcription of Chopin’s “Minute” Waltz in D flat major (Op.64 No.1) which was lots of fun, the sort which go down as a big hit in parties and soirees. Hint hint: I want the score!

Poom waxes lyrical about Carl Vine who
initially criticised his playing but years later
had nothing but praise. That's called progress.

The main event of the recital’s first half, entitled Fantasias of the West, was the Singapore premiere of Australian composer Carl Vine’s Three Fantasias. Those familiar with Vine’s musical idiom, an aurally accessible pantonality married to infectiously exuberant dance rhythms as characterised by his wildly popular First Sonata, will find those tropes in these three rather enjoyable pieces. The opening Gothic Fantasy was dressed in impressionist colours with an emphasis for darker and slightly sinister hues. Cerulean Fantasy was more rhythmic, recalling the playful innocence of childhood.

The longest piece, Fantasia Divina, dedicated to Poom (he gave the world premiere in Hong Kong last month) was cheekily described as being “diva-like”, but its far more than that. All through its fantastical figurations was some hint of a melody struggling to burst out. Building to a tumultuous climax (as Vine’s scores invariably do), it closes with a simple and quiet calm. Poom pulled out all stops for this virtuosic whirlwind of a piece. Somehow, Vine has realised more than an inkling of Poom’s passionate personality belied by his humble and Zen-like exterior.

The concert’s second half, titled Fantasias of the East and Beyond, saw Poom accompanying guzheng soloist Indra Chen Shanhui in two works from East Asia. I was curious how this combo of instruments with similar registers worked out and was not disappointed. Consider this a marriage of two distinct timbres but scored like works for two instruments, such as two pianos or two guzhengs. 

From Thailand was White Lotus by Mom Luang Puanroi and Sanitwong Apaiwong, arranged by Poom, which came across as a very pleasant folk song. More extended by was Wang Rui’s Unfolding Lotus In the Rain, rhapsodic in nature, starting slow and then building up to an animated dance. Very enjoyable was the least I can say about these accomplished performances.

Poom completed his sparkling recital by two studies on George Gershwin songs by the late American super-virtuoso Earl Wild, Embraceable You and I Got Rhythm, which brought out the best of his dazzling technique and sheer musicality. Responding to vociferous applause were two indestructible encores, Liszt’s La Campanella and Vladimir Horowitz’s Carmen Variations, with Poom’s own additions to the riotous original. All I can say is, “Welcome back, Poom!”