SOUND
& FANTASY
See
Ning Hui Piano Recital
Esplanade
Recital Studio
Tuesday
(16 June 2015 )
This review was published in The Straits Times on 18 June 2015 with the title "Pianist See displays well-rounded flair".
Young musicians in Singapore nowadays have the
option of pursuing their advanced musical studies here at home or the
traditional and much-revered institutions in the United Kingdom and the United States , or sometimes both.
19-year-old pianist See Ning Hui, who was awarded top placing at the first
Singapore Steinway Piano Competition in 2012, is presently a student at London 's Royal College of
Music, and she continues to win further prizes.
Her piano recital demonstrated how she
has progressed and matured over the years. No longer content to display flashy
showpieces, the repertoire she offered was well-chosen and reflected an
all-rounded musical personality.
Opening with J.S.Bach's Toccata in D major (BWV.912), there was
both clarity and fluidity in a somewhat romanticised account that revealed more
colours on a Steinway grand piano than one would expect from a harpsichord. The
fugal gig-like dance that closed the piece was touched with lightness and pure
joy.
Various shades and moods followed in
Beethoven's Sonata in E flat major
(Op.81a), also known as “Les Adieux”,
reflecting the highs and lows which accompanied his patron Archduke Rudolf's
departure and return. There was excitement in the first movement's farewell and
desolation in the slow movement's portrayal of absence, which See brought out
particularly well. The shift from minor to major modes at the point of return,
reflecting the composer's exhilaration was another pivotal moment.
After the interval, two Scarlatti sonatas, both in D minor (K.213 and K.1), provided many points of contrasts. Here, small was beautiful as these little gems were windows into See's refined touch. The first was contemplative and probing, while the second a fast number caught up in a dizzying and mercurial sweep.
These were mere preludes to the recital's
big piece, Schumann's Fantasy in C
major (Op.17). Belying See's petite physical stature was a voluminous sound,
which carried through the work's three movements without the need for banging
as a resort. While she can still continue to grow with this timeless
masterpiece, there was much to marvel at her grasp of the music's architecture
and form, and how she paced herself overall.
The wide chords and leaping octaves of
the treacherous middle movement were negotiated without too much of fuss,
leading to the long-breathed finale's transcendence to a higher plane of
existence. Unfortunately, these revelations were lost to some cipher in the
small audience, whose moronic ringtone from an unsilenced handphone contributed
a most jarring intrusion.
The Schumann ended in quiet heavenly
bliss, and she gave two substantial encores which offered more tantalising
glimpses to her widening repertoire. Ravel's impressions of dancing fountains
in Jeux d'eau was a impressive mix of
delicate sprinkles and gushing spouts, and the piece de resistance that was
Chopin's Winter Wind Étude was enough
to blow all doubters away. See, the conquering heroine comes!
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