LEGACY: THE NEXT PIANO GENERATION / Soloists with Thailand Philharmonic Orchestra / Review

LEGACY: THE NEXT PIANO GENERATION

David Chen & Roman Blagojevic

Thailand Philharmonic Orchestra

Victoria Concert Hall

Wednesday (17 March 2026)

This review was first published on Bachtrack.com on 19 March 2026 with the title "Argerich grandsons make a splash with the Thailand Philharmonic in Singapore".

Music runs in families. There were the Bachs, Mozarts and Mendelssohns, and more recently, the Tcherepnins, Sanderlings and Järvis. Two grandsons of great Argentine pianist Martha Argerich, 19-year-old Roman Blagojevic and 17-year-old David Chen, have now joined the worldwide concert circuit. Their 2026 Legacy Tour with the Thailand Philharmonic Orchestra led by Argentine conductor Dario Ntaca, presented by Altenburg Arts and 54 Entertainment, included concerts in Bangkok and Singapore.

Blagojevic is the son of Argerich’s third daughter Stéphanie, director of the Argerich family docu-movie Bloody Daughter, and grandson of American pianist Stephen Kovacevich. He appeared tense and ill-at-ease in J.S.Bach’s Keyboard Concerto in F minor (BWV.1056) but was able to project and articulate with clarity, with accompanying strings kept as discreet as possible. Entering one bar late in the Largo could have derailed the movement, but its aria’s elegance partnered by string pizzicatos was sustained through its short duration. The brisk and business-like run-through in the finale suggested he was more comfortable away from the stage.

Photo: Ung Ruey Loon

David Chen is the son of Martha’s eldest daughter violist Lyda Chen-Argerich and pianist-composer Vladimir Sverdlov-Ashkenazy (nephew of Vladimir Ashkenazy). He was by far the more confident of the two, possessing nerve and chutzpah to take up the challenge of Tchaikovsky’s First Piano Concerto in B flat minor (Op.23). The striding chords of its famous opening were resonant and well-projected, and the cadenza showed he clearly had the fingers for the well-worn warhorse.

He channelled his grandmother’s fiery temperament but also the tendency to rush fences, as if on a whim. When Martha transgresses, it is through authority and instinct but for someone this young, impetuosity and indiscipline are more likely reasons. The slow movement was somnolent until sparks flew in the Prestissimo episode, and the finale was a race of the fastest thoroughbreds, the stampeding octaves culminating with that rolled Horowitzian chord. Undeniably brilliant in the final pages, the audience was duly thrilled, but he is still scaling a steep learning curve.

Photo: Ung Ruey Loon

Both pianists had each an encore playing four-hands piano with Ntaca, in movements from Ravel’s Mother Goose Suite - Pavane of the Sleeping Beauty (Roman) and The Fairy Garden (David). The latter, who received longer and louder applause, also offered Chopin’s Mazurka in C major (Op.24 No.2), displaying more liberties and a free spirit.

The Thailand Philharmonic was more an accompanist than partner in the concert’s first half, and thankfully had its own show for the balance of the evening. Founded as recently as 2005, it has since made rapid progress. This reviewer has been fortunate to have witnessed very commendable performances of Mahler, Sibelius, Schoenberg and Shostakovich at its 2000-seater Prince Mahidol Hall in the outskirts of Bangkok. Its touring programme was, however, to be lighter and more popular.

Directed from memory by Ntaca, Brahms’ Academic Festival Overture received a suitably rousing performance. The orchestra, peopled by mostly young Thai nationals with a handful of expatriate musicians, generated the impetus and momentum for its succession of popular drinking songs. By the time when the valedictory Gaudeamus igitur rang out, brass and percussion were at full throttle for one final carouse.

More substantial was Tchaikovsky’s Romeo and Juliet Fantasy-Overture, which revealed more of the young orchestra’s qualities, including proficient woodwinds and a sonorous bass of low strings. There was no shortage of passion for the Montague and Capulet feud, later rising for the memorable love theme which swept the board. From the encouraging audience response, TPO’s first visit to Singapore may be judged a success.

Photo: Altenburg Arts

Star Rating: ***

The original review on Bachtrack.com:

Argerich grandsons make a splash with the Thailand Philharmonic | Bachtrack

THE FIRST FIVE CDS I EVER BOUGHT

It is said that a journey of a thousand miles begins with a single step. Thus, a collection of a thousand CDs begins with the first CD bought. I started my collection in late 1985 with just five CDs. Previously, I had collected vinyl LPs and before that, cassettes or tapes. Tapes proved to be unreliable, frequently subject to reels getting stuck or unraveled after multiple plays, or interminable tape squeak, and never lasted more than a few years. Vinyl is far more durable, but subject to surface noise from dust or static, and inevitable scratches. Plus, you have to turn a record over after hearing the first side.

Compact discs were supposed to be indestructible, having a lifetime guarantee, so I decided to listen to the very CDs which I had bought some 40 years ago. Could they still play, or have they corroded to the point of disrepair?

I bought my first five CDs at Sing Disc House at Lucky Plaza, having scouted all around Singapore a few months prior to see which record shop had the best range and most reasonable prices. Sing, then manned by Vincent Choo (husband of the wonderful and friendly Doris Tay who later ran the shop), was such a place, located at a quiet corner on the second floor and having good vibes. The CDs then cost $27, a ransom in those days, but still less than the $28 or $29 charged at other shops (Supreme Audio and Beethoven Record House).   

Selections were rather limited then but soon grew geometrically as record labels started to realise the seemingly endless potential of CD as a medium. My selections were made based on repertoire - popular works which I wanted to hear over and over, great artists, good sound as heard on the hi fi, as well as generous playing time. No way was I going to buy a CD that played for just 35 minutes!

So here are my first five CDs, and why I bought them:

My first piano concerto disc!
And it had to be Martha Argerich in two
popular concertos where she is next to peerless.
Later autographed by Charles Dutoit.

My first violin concerto disc!
Absolutely great value for money with
two great violin concertos which used
to occupy a single LP each.

My first orchestral disc!
Wanted to hear loud and scary music
blasted over the hi fi.

This one was an outlier, as I wanted to hear the great
piano romantic in three Liszt concertante works.
Malediction for piano and strings is still a rarity.
Later autographed by Ivan Fischer.

The only recording of Ravel's Gaspard de la nuit
that was available on disc then.
From Ravel's own student, I have yet to hear
a better Pavane pour une infante defunte.

I am happy to report that all five CDs can still play properly and without mishaps, despite some corrosion and occasional small holes in the silver plating. This afforded me over five hours of listening pleasure, and an invaluable walk down memory lane. Long live the CD!

MARTHA ARGERICH & FRIENDS: LIVE IN SINGAPORE / Review

MARTHA ARGERICH 

& FRIENDS

LIVE IN SINGAPORE

Esplanade Concert Hall

Monday to Wednesday 

(7-9 November 2022)

This review was published in The Straits Times on 16 November 2022 with the title "Martha Argerich and family thrill in mini music festival".

 

Presented by Altenburg Arts with the Orchestra of the Music Makers, Argentina-born Martha Argerich, regarded by many to be the world’s greatest living pianist, made a welcome return to Singapore. This time she was joined by two members of her family, eldest daughter violist Lyda Chen Argerich and 14-year-old pianist grandson David Chen. Also in the entourage for the mini-festival were Argentine conductor-pianist Dario Ntaca and South Korean pianist Yunchan Lim, staying on after his splendid solo recital.

Photo: Yong Junyi

 

The first evening was a peek at chamber music-making in the three-generation Argerich household. Some 67 years separate Martha and David, who opened with Maurice Ravel’s Mother Goose Suite for piano four hands. The teenager cut a confident figure, and egged on by encouraging and kindly looks from his grand-mere, they coaxed a disciplined yet loving reading together.

 

Both pianists also took turns to accompany Lyda in Clara Schumann’s Three Romances (Op.22). Her viola’s singing tone came through in these lyrical and warm-hearted pieces no matter who was manning the keyboard. It was left for the young man to complete the first half with Chopin’s Fantaisie-Impromptu, impressing with both musicality and restraint.

 

The second half saw Argerich and Ntaca tackling Rachmaninov’s Symphonic Dances for two pianos. This was a disappointment, sounding under-rehearsed and lacking in tension. There were, however, some pretty moments in the central movement’s waltz, and the Orthodox chant-inspired finale was fitfully exciting. It took the electrifying encore of Debussy’s Fetes (Festivals, as arranged by Ravel) to remind one what four-hands piano playing was about.

Photo: Yong Junyi

 

The second evening, entitled Romantics, was more satisfying. Young David made his official concerto debut in Beethoven’s First Piano Concerto, once the longest piano concerto in existence. How he kept his composure and concentration over three long movements, making music while overcoming its trickiest bits was a marvel in itself. His playing displayed sincerity and the ability to communicate. He has been taught well, and a bright future beckons.

 

The main event had to be Schumann’s Piano Concerto in A minor from the Grand Dame herself. Here was vintage Martha, her full-blooded passion bringing the warhorse to life and then some. Cascades of chords opened the work, and lyricism was in full flow from there. Despite the virtuosic spiels from start to finish, this was still ultimately chamber music. Both soloist and orchestra negotiated its complex interplay and rhythmic intricacies with stunning aplomb for a grandstand close. Encores by Schumann and J.S.Bach, tossed off with an easy nonchalance, furthered her legend.

Photo: Yong Junyi

 

This concert might not have been a great success if not for the excellent partnership provided by the Orchestra of the Music Makers conducted by Dario Ntaca. The ensemble also shined in Wagner’s blazing Prelude to Act 3 of Lohengrin and Brahms’ Tragic Overture which provided the dramatics before each concerto.

 

The final evening saw the Argerich pianists sit it out as Lyda opened with German composer Paul Hindemith’s Trauermusik (Music for Mourning), written in response to the death of King George V in 1936. Her dusky viola tone was perfectly complemented by just orchestral strings during for brief moments of reflection. The full orchestra then emerged to give a riveting account of Rimsky-Korsakov’s four-movement symphonic suite Scheherazade. Concertmaster Zhao Tian (violin) and Charity Kiew (harp) shone as obbligato soloists, and there were many standout moments for massed strings, winds and brass as well.

 

Mother and daughter having a
heart-to-heart talk during the intermission.

 

Photo: Yong Junyi

The festival concluded with South Korean pianist Yunchan Lim, most recent Cliburn Competition winner, in Beethoven’s Fifth Piano Concerto, or the Emperor Concerto. High expectations raised by his solo recital were fully realised in a clean-cut reading that did not stint on bluster or outright fireworks. Amid the incessant heroics called for in outer movements, that he found a wellspring of poetry for the slow movement remained this performance’s abiding memory.

 

One thing was certain over three evenings of passionate music-making: virtuosity means little if it does not have heart.

 

Encores performed:

7 November 2022

Debussy Fetes from Trois Nocturnes (arr.Ravel)

8 November 2022

Schumann Von fremden Landen und menschen 

(Of foreigns lands and people) from Kinderszenen Op.15

J.S.Bach Gavotte I & II 

from English Suite No.3 in G minor

9 November 2022

Bach-Kempff Siciliano

 

Watch Martha Argerich's performance of Schumann's Piano Concerto with OMM here:

MARTHA ARGERICH AND FRIENDS: LIVE IN SINGAPORE / Three Concerts Not To Be Missed

MARTHA ARGERICH AND FRIENDS: 

LIVE IN SINGAPORE

7-9 November 2022

Esplanade Concert Hall

The ageless wonder Martha Argerich returns to Singapore after a four hiatus. This time, she is joined by family, daughter violist Lyda Chen Argerich and grandson David Chen, together with Argentine pianist-conductor Dario Ntaca, South Korean pianist Yunchan Lim and Singapore's own Orchestra of the Music Makers for three evenings of chamber music, piano concertos and orchestral music.

The programmes are as follows:

Monday 7 November 2022

CLARA SCHUMANN Three Romances, Op.22 (LCA & MA)

CHOPIN Fantasie-Impromptu, Op.66 (DC)

RAVEL Mother Goose Suite (DA & MA)

RACHMANINOV Symphonic Dances (DN & MA)

Tuesday 8 November 2022

WAGNER Prelude to Act 3, Lohengrin 

BEETHOVEN Piano Concerto No.1 (DC)

BRAHMS Tragic Overture

SCHUMANN Piano Concerto (MA)

Wednesday 9 November 2022

HINDEMITH Trauermusik (LCA)

RIMSKY-KORSAKOV Scheherezade

BEETHOVEN Piano Concerto No.5 (YL)

Martha Argerich (MA), 

Lyda Chen Argerich (LCA),

David Chen (DC), 

Yunchan Lim (YC), 

Dario Ntaca (DN)

All orchestral works with Orchestra of the Music Makers, conducted by Dario Ntaca. 

All concerts at Esplanade Concert Hall, 8.15 pm on all evenings.

Tickets selling fast, available at:

MARTHA ARGERICH AND FRIENDS IN SINGAPORE [G] | SISTIC

CD Review (The Straits Times, January 2019)

PROKOFIEV FOR TWO

MARTHA ARGERICH

& SERGEI BABAYAN, Two Pianos

Deutsche Grammophon 479 9854 / *****

Although she may be 77 years old, Argentine piano legend Martha Argerich continues to perform and record. A recent release is an hour of music by Russian composer Sergei Prokofiev (1891-1953), transcribed for two pianos by Armenian-American pianist Sergei Babayan, the latest in a long illustrious line of piano duo partners.

Twelve movements from the ballet Romeo And Juliet are performed as a suite, and there are only several movements in common with Prokofiev’s own original set of solo pieces (Op.75) for two hands. New are the evocative Dance With Mandolins and the scintillating music-box effects in Morning Serenade. The Gavotte is a familiar dance rehashed from the 3^rd movement of his Classical Symphony while Death Of Tybalt provides a suitably dramatic and violent end.

Much of the music exploits the lower registers of two pianos. The results are brooding and darkly sonorous but richly detailed. Much less familiar are arrangements of Prokofiev’s incidental music from Eugene Onegin and Hamlet, film music from The Queen of Spades, a waltz from the opera War and Peace and one Pushkin Waltz. The performances sound freshly-minted, spontaneous, and are brilliantly recorded. Highly recommended.   

Photographs from MARTHA ARGERICH & DARIO NTACA IN CONCERT

Heartiest congratulations are due for the Singapore International Piano Festival and its organisers, the Singapore Symphony Group, on the 25th Anniversary of its founding. In 1994, there was no culture of holding piano recital series in Singapore, and the Festival then became the brightest fixture of the local concert season for many years. 

The biggest coup of the silver anniversary was bringing Argentine supervirtuoso Martha Argerich in for her Southeast Asian debut. According to Artistic Director Lionel Choi, this was the first time La Martha had performed in Asia and Australia outside of her Japanese and Korean dates. This would be the musical equivalent the historic Donald Trump and Kim Jong Un summit in Singapore, also held within the same days. 

The first concert on Monday 11 June featured La Martha and Argentine pianist-conductor in 4-hand piano music. The second concert on 13 June had both pianists performing piano concertos with the Singapore Symphony Orchestra. For many, that was certainly the highlight of the festival.

Dario Ntaca first performed Mozart's Piano Concerto No.17,
directing the orchestra from the keyboard.

It was a very musical reading, and was accorded
much polite and receptive applause.

The main event, however, was
Martha Argerich performing Prokofiev's Piano Concerto No.3,
with Ntaca conducting from the podium

Martha Argerich is still a phenomenal pianist,
even for someone 77 years old. 

It was incredible with what she could still do with
her fingers in this demanding showpiece.

Turning back the clock, the performance had the
same vehemence and spirit as her famous recording
with Claudio Abbado from the 1960s.

She's still got that mojo,
and the audience loved every bit of it.

She loved the audience too.

Trying to pluck a rose for concertmaster Lynnette Seah
was the most difficult thing she did all night!

La Martha obliged with two encores.

First was Scarlatti's treacherous Sonata in D minor,
K.141 also known as the "Guitar" because of
its repeated notes and crossing of hands. 

The second encore was
Debussy's La Soirée dans Grenade from Estampes.

It was truly a memorable evening which
many will never forget for years to come.

Watch this performance of La Martha with the SSO in Prokofiev's Third Piano Concerto and marvel:

... and let's not forget the encores as well: