GOD.PRAY.LOVE
KaJeng Wong, Piano
Atlas Music Co. Ltd / 2 CDs
This is Hong Kong pianist KaJeng Wong’s latest recording, a worthy sequel to his debut disc Seasons of Life released in 2020. His earlier concept album was a reflection of a young man’s life journey, filled with personal angst, trials and tribulations. It follows that this latest offering is inspired by his devout Christian faith. J.S.Bach figures mostly in transcriptions, while Franz Liszt, who took minor orders from the Vatican, also has an important place.
The recital is bookended by the famous Prelude in C major (BWV.846) from Book 1 of the Well-Tempered Clavier, opening as the J.S.Bach-Gounod Ave Maria with its mellifluous counter-melody and later in its original form to close. A further layer is provided by two Bach transcriptions, Dame Myra Hess’ Jesu, Joy of Man’s Desiring and Egon Petri’s Sheep May Safely Graze. These are performed with utmost simplicity and flowing lyricism.
In between comes the heavy-duty repertoire. Liszt’s In festo transfigurationis Domini nostri Jesu Christ (On the Feast of Transfiguration of our Lord Jesus Christ), with arpeggio sequences echoing the Bach Prelude, precedes the well-known Benediction de Dieu dans la solitude (Blessing of God in Solitude). Has there been a more spiritually uplighting work of Liszt’s than this? Wong’s gentle voicing of its melody on the left hand accompanied by right hand filigree is the epitome of smoothness. The works builds up to a transcendent climax before resolving in ultimate solace, the kind that can only be had in the presence of divinity.
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| Spiritual composers: J.S.Bach, Franck & Liszt |
Also from Liszt’s Harmonies poetiques et religieuses (Poetic and Religious Harmonies) is Cantique d’amour, which opens the Love segment of the recital. Being the tenth and final piece from Liszt’s cycle, it also represents the consummation of divine love. Between both Liszt works is Cesar Franck’s Prelude, Choral et Fugue, which receives the most gripping performance of all. Although not an overt religious work, a prayerful countenance is sustained through its pages. This is the true heart of this recital.
The Bach-Naoumoff Aus Liebe will mein Heiland sterben (Because of Love My Saviour Died) from St Matthew Passion completes the programme. The French-Bulgarian pianist Emile Naoumoff (himself a student of Nadia Boulanger) was Wong’s teacher at Indiana University. All through this very substantial recital programme, KaJeng Wong’s spirituality is clearly palpable and inspiring to say the least.
The quite substantial bonus disc is a delight, beginning with a complete performance of Bach’s French Suite No.5 in G major. This is the one with a famous Gavotte which many children play but never get quite right and an exhilarating final Gigue. Wong plays no repeats but includes neat and tasteful little ornamentations. A spirit of serenity and meditation occupies much of the disc, continuing with Scarlatti’s Sonata in A major (K.208) and the slow movement from Mozart’s Sonata in D major (K.576), also known as the “Hunt” Sonata but without the bloodsport. Wong’s selection of Rachmaninov shorts is also lovely, the Etude-Tableaux in C major (Op.33 No.2) with its restless pulse and flowing lyricism of Prelude in G major (Op.32 No.5). From the same set, the austere B minor (No.10) and final D flat major (No.13) Preludes make for stark and striking contrasts.
My sincere thanks go to Phan Ming Yen and Amy Ho for the gift of this album and reacquainting me with this very fine musician.
You can sample this lovely album on Spotify:
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