ALBERT TIU'S NOCTURNAL FANTASIES gets rave reviews on Gramophone, American Record Guide and Fanfare

Albert Tiu's solo piano recording of Chopin and Scriabin Nocturnal Fantasies has received rave reviews from three of the world's most respected classical record review journals. The September 2011 issue of Gramophone has Bryce Morrison's highest and warmest praise for this "Made in Singapore" recording. He even makes a mention of a certain programme note writer (and this gives that writer that a great thrill to have his name in this periodical!), but the chief glory is in the music and its polished and heartfelt delivery by Albert Tiu. This CD is available at Music Essentials (Meridien Shopping Centre, Orchard Road).

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This enthusiasm is echoed in a review by James Harrington earlier in AMERICAN RECORD GUIDE (May-June 2011):

On FANFARE magazine, the usually highly critical Jerry Dubins has nothing but praise,

"Centaur has produced, in my opinion, one of the all-time great piano recordings. ... Urgently recommended."

Another thumbs up for classical music in Singapore, I say!

THE SINGAPORE EXPERIENCE: Impressions of the National Piano and Violin Competition 2009 by BRYCE MORRISON

Bryce Morrison with a

rather familiar brand name.

The world-renowned music critic and authority on piano performance BRYCE MORRISON was in Singapore last December as one of the judges at the National Piano & Violin Competition 2009. Here are his impressions on his musical visit to the “Lion City”.

Your last visit to Singapore was over 15 years ago. How has Singapore changed since then?

I could hardly recognise anything. Everything in Singapore changes with a rapidity that is a testament to a people of astonishing energy and discipline.

You have judged in over 50 international piano competitions in the United Kingdom and worldwide. Do you ever tire of this activity?

The answer is no. The minute you hear genuine quality or calibre (and sometimes you have to wait a long time for that minute!) it is like the sun coming out; a moment of musical and poetic revelation.

With young prize-winning pianists of NPVC 2009.

The National Piano & Violin Competition in Singapore featured a record 215 pianists heard in the space of one week. Pianists were grouped under 4 categories: Junior, Intermediate, Senior and Artist. In which of these did you see the most potential?

Great potential and more than potential in all four categories. Naturally, the standard varied, indeed dipped and soared wildly, but the challenge of listening to such an array of talent was rarely less than stimulating, ofton moving and sometimes deeply satisfying.

Li Zhen takes a bow

after her winning Liszt Piano Concerto No.1

Were there any performances that particularly touched you?

Many, but I should like to single out Amanda Lee Yun Yee (Junior category). Her performance of Chopin's F minor Waltz in particular showed a freshness and instinct for poetry astonishing in so young a pianist. Also Li Zhen (Artist category, above) whose expressive beauty in Brahms Fantasy Pieces (Op.116) was as remarkable as her unfaltering confidence, accuracy and glitter in her first prize winning Liszt First Piano Concerto. Her performance of the Second Intermezzo from the Brahms was the highlight of the entire competition for me. Special mention, too, for Shaun Choo Yung Sheng for his enviably stylish and brilliant performance of Chopin's 24 Préludes (Op.28). There were, of course, many other instances of major talent, but these performances left an indelible impression that has stayed with me long after the event.

Asian pianists have been accused of being “all fingers, no tradition and no soul”. Was this the case here in Singapore?

There are indeed many examples of this sort of limitation. But as I have pointed out above, there are always exceptions to such a crude generalisation. True, I found instances of 'forced feeding' the result of over-ambitious and sometimes perverse teaching, but the general impression in Singapore was awe-inspiring.

The piano jury: Bryce Morrison,

Rae de Lisle and Logan Skelton (from L)

What was your relationship with the other judges like? Were there any battle royales between the three of you?

I was blessed to have such sympathetic jury colleagues. Even in moments of rare disagreement the terms of the disagreement were always understandable (Never was there, "You think that is great, and I think it is awful.") As on all these occasions I feared sudden dissent, only to find ourselves in such harmony, accord and once more on the level. There were no battle royals; very disappointing!

Literally conducting a masterclass.

What do you look for in young pianists in your masterclasses? What are the most important messages you like them to take home? What can be done to help young Asian pianists go beyond merely mastering the notes?

A secure technical foundation that allows them freedom to express themselves. As Rudolf Serkin(a great if hardly natural pianist) once said, "You can never have enough technique." I also look for - to put it simply- a sheer joy in music making, a natural love rather than fear of the concert platform expressed in an imaginative, daring and individual artistry. This is something very different to imitation or the parrot-like repetition of a teacher's ideas.

What are your suggestions to improve the running and standard of this competition?

It was a hectic and intense two weeks, sometimes too intensive to make for realistic and accurate listening. I think you could cut down the numbers by having a preliminary round before the competition commences in earnest.

Pianomaniacs in Malacca

at the ruins of St Paul's Church.

Amid the busyness, did you get to do any sightseeing?

As much as time allowed - Singapore Zoo, Sentosa and Malacca (above). So much to think about, the entire experience often humbling and enriching.

A SOIRÉE WITH BRYCE MORRISON / Part 1

The invitation to an evening 

of musical enchantment!

Three Young Virtuosi of Singapore PianoFest:
Lee Pei Ming (2006), Nicholas Loh (2009)
& Albert Lin (2007, from L)

Bryce Morrison celebrates the life 

of Australian diva of the piano Eileen Joyce 

with an illuminating illustrated talk, 

and finishing with a cautionary message.

Yao Xiaoyun, Young Virtuoso (2009) 

and 1st prizewinner of Piano Open category 2005, 

opened the evening with the
1st movement from Chopin's Sonata No.3.

Khoo Hui Ling, 1st prize winner of the 

YST Piano Concerto Competition 2009, 

performed Tchaikovsky's Dumka.

14-year-old Aileen Gozali 

gave a rare performance of Liszt's unfamiliar 

Hungarian Rhapsody No.4.

Au Kah Kay, a doctor in private practice,

polished off the Schubert-Liszt 

Soirées de Vienne No.6.

11-year-old Jonathan Chua did not find

Copland's Three Moods a great technical challenge.

Kelvin Chan, a scientist with A-Star, 

raised the roof with

Ravel's Scarbo from Gaspard de la nuit. 

BM looks more than

satisfied with his former student's work.

A SOIRÉE WITH BRYCE MORRISON / Part 2

16-year-old Zhao Yang Ming Tian from China

thrilled with Granados' Allegro de Concierto.

Shaun Choo, 3rd prize winner 

Piano Artist category,

in the Bach-Busoni Chaconne, was easily

the highlight of the evening.

Azariah Tan, 1st Prize winner 

Piano Senior category 2009,

performed the Rondo from 

Chopin's Piano Concerto No.1.

A 13-year-old student of Yao Xiaoyun

charmed with the Chinese classic,

Silver Clouds Chasing The Moon.

Clement Huang, owner of 

Bukit Batok's only Fazioli,

performed Chopin's Nocturne Op.55 No.2

Closing the evening on a high was Nicholas Loh,

who performed an Étude by Nikolai Kapustin.

Bryce Morrison with prominent 

Singaporean pedagogue

Benjamin Loh (extreme R) and 

his students: Aileen Gozali, 

Zhao Yang Ming Tian & Jonathan Chua.

Bryce Morrison with 

Clement Huang, Nicholas Loh,

a NAFA student, Azariah Tan, 

Yao Xiaoyun, Low Shao Suan & 

Low Shao Ying (from L)