Showing posts with label Donald Law. Show all posts
Showing posts with label Donald Law. Show all posts

Monday, 4 November 2024

A FOLKLORIC JOURNEY: MELODIES OF THE HOMELAND / Donald Law, Gabriel Lee & Zoi Yeh / Review

 


A FOLKLORIC JOURNEY: 
MELODIES OF THE HOMELAND 
Gabriel Lee (Violin) 
Zoi Yeh (Cello) 
Donald Law (Piano) 
Esplanade Recital Studio 
Thursday (31 October 2024)

This review was published in The Straits Times on 4 November 2024 with the title "Chamber concert an enjoyable study of musical nationalism".

The idea of home and homesickness in music mostly came about during the Romantic era, largely due to composers traveling away from their lands of birth and the rise of nationalism. This chamber concert was an enjoyable study of musical nationalism and how composers poured their hearts out when reminded of their origins. 


The evening opened with pianist Donald Law performing Pyotr Tchaikovsky’s Dumka (Op.59) for solo piano. While he was considered too Western in style and taste by the “Mighty Handful” of Russian nationalist composers, Tchaikovsky nevertheless carved out a virtuoso showpiece from its brooding subject (Dumka comes from the Ukrainian word duma, which is a “lament”). 


Law coped well with its series of short variations and mastered its dizzying cadenza with aplomb, with its brusque concluding C minor chords echoed in the next work, Taiwanese composer Tyzen Hsiao’s Capriccio In Hakka Melody. Taiwanese cellist Zoi Tzu-Jou Yeh, who is Hakka herself, recalled hearing this tune being sung in market places during her youth. Like the earlier Tchaikovsky, its heart-rending melody, performed with much warmth and feeling, evoked genuine nostalgia. 


For solo cello was young London-based Singaporean composer Toh Yen Ee’s Ode To The Sun (2022), inspired by a painting (of the same title) and violin work (Kuang Xiang Qu) by Cultural Medallion recipient Kam Kee Yong. Its all-too-short depiction of sunrise, midday and sunset received a luminous reading from Yeh. 


Violinist Gabriel Lee accounted for two popular violin works, opening with the second piece from Bohemian composer Bedrich Smetana’s From The Homeland. Alternating between G minor and major keys, its Slavonic dance rhythms found sympathetic advocates in Lee and Law, who completed the concert’s first half with Hungarian composer Bela Bartok’s Romanian Folkdances. In the third dance (Pe Loc or On The Spot), Lee eschewed its stratospheric harmonics for an earthier sound more closely resembling Romanian gypsy fiddling. 


The concert’s major work was Smetana’s Piano Trio in G minor (Op.15), which occupied the whole second half. If one found the first half a tad polite and restrained, all three musicians went for broke in this passionate work which hit the evening’s highest points. Huge fortissimo chords on the piano were balanced by the cello’s rich expressiveness and violin’s virtuosic turns of phrase. 


The central movement delighted in syncopations and the quaint folksiness found in ethnic dances, while the finale’s rapid fire was guaranteed to send pulses racing. Smetana still had one big tune up his sleeve, which was first lovingly heard on cello, and finally milked for all its worth for a spectacular close. 



As an encore, the trio performed what could now be considered a Singaporean folksong - Dick Lee’s Home. Arranged in G major by Sulwyn Lok, any fuzzy and warm feelings engendered should not be considered embarrassing. It just means one is a dyed-in-the-wool local!


Saturday, 18 November 2023

A TRIBUTE TO JIRI HEGER, MASTER VIOLIST (1946-2023)




MEMORIES OF JIRI HEGER

Master Violist & 

Singapore’s Original Bohemian

 

We are saddened by the passing on 11 November 2023 of Czech violist JIRI HEGER, who was for 26 years the Principal Violist of the Singapore Symphony Orchestra. He served Singapore’s burgeoning classical music scene for over 32 years, including being the main viola teacher at the Yong Siew Toh Conservatory of Music.

 

Jiri (pronounced Yee-Zhee) joined the SSO in 1980, at a time when experienced musicians from Eastern Europe were employed to develop the orchestra. One is also reminded of the contributions of former concertmaster Pavel Prantl (Czechia), violist George Man (Hungary), bassist Vladimir Pushkarev (Slovakia), percussionist Grzegorz Markiewicz (Poland), and several Romanians who were all pioneers of the SSO. Previously, he played in the Tehran Symphony Orchestra, but the Islamic revolution put an end to that. Drawn to Singapore, Jiri came, settled and never left, later taking on Singapore citizenship.


Jiri with his students,
the young T'ang Quartet, late-1980s

 

One of Jiri’s greatest legacies was being for many years the numero uno teacher of violists in Singapore. Anybody and everybody connected to that “unfashionable” instrument had been his student. He made playing the viola cool, and mentored the likes of violist Lionel Tan and the string players who would later become the T’ang Quartet, Singapore’s first professional chamber group.

 

Imagine his pride when Lionel won the Diners Club String Player of the Year Competition in 1988 playing Gyula David’s Viola Concerto (Leslie Tan and Ng Yu Ying were the other finalists) and when T’ang Quartet made its first two CD revordings. The Art Of War showcased the works of Erwin Schulhoff and Pavel Haas (Czech composers murdered in the Nazi Holocaust) while Made In America featured Dvorak’s String Quartet and String Quintet (Op.96 and 97). Jiri’s imprimatur was indelible in both these landmark recordings, capped off by him  playing the second viola part in the quintet.



 

Jiri made several CD recordings of his own including a rare recital for the quinton, an antique brybrid instrument from the viol family. He was the only quinton player in Singapore, and his recording of sonatas by Cesar Franck and Edvard Grieg truly stands the test of time. He also made a disc of Czech lollipops with French pianist Etienne Chenevier which was also a true delight.


Jiri greeting British pianist Stephen Hough
after a SSO concert in 2019. 
Photo: Singapore Symphony Orchestra


Even after he retired from professional playing and teaching, Jiri was a regular presence at local concerts, toting his huge camera and lending support to his colleagues. He was always full of praise for musicians and performances, never uttering a harsh word or expressing any kind of bitterness. He was a true lover and friend of classical music, and the likes of Singapore’s original Bohemian will never the be seen again.

 

The following are some photographs and tributes from people who have known Jiri well:


Jiri with star pupil Lionel Tan

 

LIONEL TAN,

Founding violist of T’ang Quartet writes:

I was his first student in Singapore.

An everlasting relationship - a true father who always gave. Not just musically but even more. The music cassettes that he regularly sent to me when I was studying in London was always such a joy.

 

Beyond lessons, the times I spent with him when I was in SSO after my studies were always lessons in life, observing him, absorbing his thoughts…

 

His legacy will live on.



 
Jiri with the Low sisters,
Shao Ying (L) and Shao Suan (R)
in April 2023

 

LOW SHAO YING & SHAO SUAN,

Duo pianists write:

 

Three weeks ago on 11th November, late at night, we received the sad and shocking news of the passing of Jiri Heger, a longtime dear friend and former colleague. We were in disbelief as the last time we met him for lunch was some months ago in April. He still looked very healthy then. And only three months ago, he wished us a Happy Birthday via a few of his friends, which now as we come to think about it, seemed strange as every other year, he would personally call us or text us on our birthdays.

 

We have known Jiri since 1995 when we first performed with the Singapore Symphony Orchestra. He was already a very lovely, kind, encouraging and funny guy. We got to know him better when we joined Yong Siew Toh Conservatory of Music as piano accompanists, and Shao Ying was the appointed pianist for his viola studio. His dedication, passion, love and encouragement for his students and Shao Ying gained him their respect, devotion, admiration and love in return. 


He was also very generous with his time during lessons as he wanted to make sure his students understood every lesson before it ended. His lessons were very inspiring, enjoyable and interesting, and he loved to share his vast musical knowledge and personal experiences. Whenever a student made a mistake and seemed affected by it, Jiri would famously say, “We are all humans. Humans make mistakes. Even machines will breakdown.” We have been using this very wise saying on our students ever since.

 

After Jiri’s retirement from SSO and the conservatory, we still met once or twice a year to catch up, especially around his birthday. We would also text (or email when he was away) at times to see how each other was doing. Whenever we had any concerts, he would do his best to attend to show his unwavering support. Besides music, Jiri was also an avid photographer. Wherever he went, he never failed to capture special moments with his trusted camera, be it during his holiday trips or during our meet-ups. We still have with us the many physical and digital photographs that Jiri so kindly gave us, which will now sadly, be our only momentoes of him.

 

To have met and known Jiri was an honour and privilege for us. We will always remember his kindness, his love, his generosity, his encouragement, his strong yet warm voice and his infectious hearty laughter. “May you rest in peace, dear Jiri. Thank you for your love and friendship and for being part of our lives. You will forever be very fondly remembered by every lucky soul that have met and known you. Farewell and till we meet again.”

 

With love, Shao Ying and Shao Suan

 

 

Although Donald Law did not play the viola,
Jiri took him under his wing and introduced
him to Czech pianist Ivan Klansky,
who tutored Donald pro bono.

Donald Law, Pianist writes:

 

Goodbye to my dear old friend. As much as everyone says that you’re in a better place (which I’m sure you are), reuniting with your beloved mother, the fact remains that I’ll fondly miss the times we shared for the past 13 years.

 

All those hours worth of conversations we had at the Bishan Park Canopy cafe, talking about anything and everything under the sky, mainly revolving around music. Though we don’t play the same instruments, but I’m so glad that we share the same vision, taste, passion and beliefs about music. No words can describe the sense of loss I’m going through now, thank you for everything and especially for always believing in me from the beginning, when almost no one did at that point, not even myself! 



You saw me grow as a student till now as a father, watching me went through my ups and downs, but never once have your support and confidence in me waned. Thank you for turning up at every single performance, regardless big or small, exam recitals or public recitals, you were always there at the audience, giving one of the loudest applause. Your support and encouragement never failed to inspire me.

 

You were like a grandfather to me, you will always hold a special place in my heart. See you at the other side next time, my dear old friend!



After Donald's concert at
Esplanade Recital Studio, January 2023.


Update: I have dedicated my review of the Pavel Haas Quartet's concert in Victoria Concert Hall on 19 May 2024 to the memory of Jiri Heger, SSO's first and original Bohemian. You can find the review on Bachtrack.com here:

Pavel Haas Quartet’s triumphant, all-Bohemian Singapore debut | Bachtrack


Friday, 28 April 2023

Photographs from PIANO EXTRAVAGANZA 2023

 


PIANO EXTRAVAGANZA 2023

Victoria Concert Hall

Saturday (22 April 2023)


So it finally happened! Piano Extravaganza 2023 took place at Victoria Concert Hall last Saturday and proved to be a feast of piano music, graced by the five of Singapore's finest young pianistic talents. Here are the photographs from that historic evening, proving that the global Covid pandemic could not stop good music, but merely delayed it. The event was dedicated to the memory of Vincent Chong, founder of MW School of Music, who presented the first Piano Extravaganza (2019) and the Young Virtuoso Recital Series before that.


Ukraine-born Kseniia Vokhmianina 
opened the evening with music by her
compatriots Kosenko and Skoryk, and Chopin.


B-L Piano Duo (Bertram Wee & Lynette Yeo)
give the Singapore premiere of
Nancarrow's Study No.7
as arranged by Thomas Ades.

Cherie Khor performed 
Quilter-Hough Now Sleeps The Crimson Petal
and Liszt's Dante Sonata.


Donald Law opened the second half
with Janacek's Sonata 1.X.1905
and Debussy's La plus que lente.

Two sides of V.Gryaznov's transcription of
Ravel's Daphnis et Chloe Suite No.2:
Lynette Yeo and...

... Bertram Wee.

Kseniia, Donald and Cherie
lap up 6-hands works by Rachmaninov:
the Romance and Waltz.
Note that Kseniia is now
dressed in Ukrainian colours!


Husband and wife play together for once!

Kelly Tang's Symphonic Suite
on a Set of Local Tunes

as arranged for 10-hands by Bertram Wee
received its World Premiere.

Young virtuosos, take a bow!


The pianists with H.E Ms Kateryna Zelenko,
ambassador of Ukraine to Singapore (seated).

A busy meet-and-greet
concluded the evening's event.

Two reviews of this concert 
can be found here:

Monday, 17 April 2023

PIANO EXTRAVAGANZA 2023: A SPECIAL PIANO RECITAL NOT TO BE MISSED!



PIANO EXTRAVAGANZA 2023 returns after a hiatus of four years. It remains Singapore's foremost showcase of the best young local pianistic talents. This year, the spotlight is shorn on pianists Donald Law, Cherie Khor, Kseniia Vokhmianina and B-L Piano Duo (Bertram Yeo and Lynette Yeo), who will perform a diverse programme of piano works for 2, 4, 6 and 10 hands, including several Singapore premieres and a World Premiere!


Programme:

KOSENKO Etude in B minor "Gavotte

SKORYK Waltz in A minor

CHOPIN Etude in A flat major, Op.10 No.10

CHOPIN Waltz in A minor, Op.34 No.2

CHOPIN Polonaise in A flat major, Op.53 "Heroic"

  KSENIIA VOKHMIANINA, Piano


NANCARROW-ADES Study No.7

  B-L PIANO DUO: 

  BERTRAM WEE & LYNETTE YEO


QUILTER-HOUGH 

Now Sleeps the Crimson Petal

LISZT Dante Sonata

   CHERIE KHOR, Piano


JANACEK Sonata.V.X.1905 "From the Street"

DEBUSSY La que plus lent

  DONALD LAW, Piano


RAVEL-ADES Daphnis et Chloe Suite No.2

  B-L PIANO DUO:

  BERTRAM WEE & LYNETTE YEO


RACHMANINOV Waltz and Romance 

for piano 6 hands

 DONALD LAW, CHERIE KHOR 

 & KSENIIA VOKHMIANINA


KELLY TANG Symphonic Suite on a Set of Local tunes 

for 10 hands on 2 pianos, 

arranged by BERTRAM WEE

  BERTRAM WEE, LYNETTE YEO, 

  DONALD LAW, KSENIIA VOKHMIANINA

  & CHERIE KHOR


When: Saturday, 22 April 2023

Where: Victoria Concert Hall, 7.30 pm

Tickets available at SISTIC:

PIANO EXTRAVAGANZA 2023 [G] | SISTIC


As featured in The Straits Times

As seen in Lianhe Zaobao

Rehearsal Photos
Kseniia, Donald and Cherie
work on Rachmaninov's Romance & Waltz
for piano six hands.


Now that Bertram & Lynette have arrived,
the five pianists practise on 
Kelly Tang's Symphonic Suite on Local Tunes.

You're never too young to
appreciate piano music!

Monday, 20 February 2023

RELATIVELY MOZART / PAUL LEWIS PLAYS MOZART PIANO CONCERTO 25 / Review



RELATIVELY MOZART

Donald Law, Piano

NAFA Wind Ensemble

Esplanade Recital Studio

Monday (13 February 2023)

 

PAUL LEWIS PLAYS

MOZART PIANO CONCERTO 25

Singapore Symphony Orchestra

Victoria Concert Hall

Thursday (16 February 2023)


This review was published in The Straits Times on 20 February 2023 with the title "Three servings of Mozart's Piano Concerto No.25".

 

Mozart wrote some 27 piano concertos, but what were the odds of encountering the same concerto performed three times within the same week? The concerto in question was Piano Concerto No.25 in C major (K.503), which garnered the attention of Singaporean Donald Law and Briton Paul Lewis (twice) in two different but equally engaging programmes.



 

The first performance was in an idiomatic arrangement for winds by Malaysian pianist-composer Wong Chee Yean, with Law accompanied by the Nanyang Academy of Fine Arts Wind Ensemble conducted by Dutch wind specialist Joost Flach. The plangent sonorities of woodwinds and brass could easily overwhelm any solo instrument but this combo of eleven players - pairs of flutes, oboes, clarinets, French horns and bassoons, and double bass - were kept well in check.



 

This allowed the highly musical personality of Law to shine, impressing with crisply articulated  fingerwork and a singing tone. The effect was that of fine chamber music, with the martial strains of outer movements tempered by his lyrical restraint. When virtuosity was demanded, he also duly delivered. The choice of Hungarian pianist Lili Kraus’ cadenza for the first movement, which had the cheek of incorporating the La Marseillaise (French national anthem) near its end, was inspired.



The concert also saw Law playing Mozart’s Sonata in A major (K.331) which delighted with a familiar set of variations and the famous Rondo Alla Turca (Turkish Rondo). As a bonus, the ensemble was joined by four members of the special-needs Purple Symphony – a flautist and three percussionists – for a rousing version of that romping rondo.



 

Then there was the pair of performances with Lewis partnered by the Singapore Symphony Orchestra led by American conductor Robert Spano. Little was spared in Mozart’s original orchestration which had in addition to strings and winds, a pair of trumpets and timpani, providing the music with a festive and celebratory feel.


Photo: Chrispics + / Singapore Symphony Orchestra

 

Like Law, Lewis revelled in the solo part’s technically demanding passages which can easily get embedded within the busy orchestral partnership. Lewis played his teacher-mentor Alfred Brendel’s first movement cadenza, which also quoted La Marsaillaise, albeit a secondary motif (which Debussy used in his piano prelude Feux d’artifice), but at its beginning. What is the big deal about La Marsaillaise? That was because many listeners thought Mozart’s repetitive second subject to resemble that patriotic French tune by Rouget de Lisle.



 

Ultimately it was Lewis’ more free-wheeling interpretation, which included skillful ornamentations and added piano chords in loud tutti sections, which tipped the balance in his favour. Law was, however, in no way a lesser musician. As an encore, Lewis’ choice of Schubert’s brooding Allegretto in C minor, lovingly voiced, was icing on the cake.



Photo: Chrispics+ / Singapore Symphony Orchestra

Robert Schumann’s grand Third Symphony in E flat major, also known as the Rhenish, closed the concert with a bang. The German’s orchestration has long been criticised to be dense and overblown, resulting in musicologists calling for the score to be pared down and slim-lined. There was to be none of that this evening, with a plethora of sound filling the limited confines to near breaking point.



 

Near being the operative word, as conductor Spano coaxed from the ensemble playing of the most lively kind, possessed with a nervous cutting edge throughout, but never going over the top. Standing out was the chorale of brass which distinguished the solemn fourth movement, a glorious portrait of Cologne’s gothic cathedral. By the symphony’s rapturous end, loud cheers indicated that some things should be best left well alone.