KaJeng Wong, Nancy Loo, Music Lab

Date: August 4, 2014
Location: City Hall, Hong Kong.

Piano (Mussorgsky-Naoumoff): KaJeng Wong
Piano (Gershwin): Nancy Loo
Orchestra: The Music Lab Orchestra
Conductor: Wilson Ng

This evening program presented Debussy’s Prelude to the Afternoon of a Faun, Ravel’s Mother Goose Suite and Gershwin’s Rhapsody in Blue, followed by Emile Naoumoff’s arrangement of Mussorgsky’s Pictures at an Exhibition. Visual art works by various local artists, projected onto a gigantic screen above the orchestra, accompanied each musical piece.

Little was said about the premise of the visual art presentation, other than: (1) that the presentation would be related to Hong Kong and (2) that it would co-exist with music on stage. The program notes offered short paragraphs from some of the contributing visual artists, but no overarching explanation of the concept. Even KaJeng Wong, the prodigious 24-year-old and brainchild of the evening’s program, was at loss with words. In between the Debussy and the Ravel, Wong appeared on stage to announce that technicians needed some time to fix a projection problem. In the meantime, he tried unconvincingly to explain his concept. On the spur of the moment, Wong also initiated a makeshift Q&A with various musicians, asking them what they felt about the performance. Violist Samuel Pang, Wong’s childhood classmate, offered a partial bailout by eloquently but somewhat aimlessly stating the obvious — that here was a concert with images of Hong Kong and made by people who grew up in Hong Kong.

The busy streets of Hong Kong, captured in a series of time-lapse photo tableaux by photographer Cheung Chi Wai (張志偉), echoed some of Gershwin’s spirit of optimism in the kaleidoscope of a buzzing city. The amount of work was tedious and immensely time-consuming. As an artwork on its own, Cheung’s product carried a lot of substance and story. Yet when placed next to the music, the speed and color of the tableaux seemed unready to match up with the undulating dynamism of the composition’s tempi and tonal colors.

Nevertheless, better explanations could be found, after the concert, on the web. Oychir (愛卡), the artist responsible for the visual art during the Ravel, explained in her blog that during her creative period, her mind wandered when trying to understand the music, as if lost in space and forever banished from Earth: “感覺自己捉不到那歌,越畫越遠,精神迷路,迷到上太空,回不到地球”. Even Oychir herself blogged about being surprised to hear that the organizers were quite satisfied with her work – albeit in a tone of one who was more curiously puzzled than genuinely satisfied with her output, not necessarily in and of itself but specifically in its relation to this musical concert. In the end, the experimentation juxtaposing live music with visual art failed to impress with real consequence, even though Wong and his team should be commended for daring to try something different in a city where artistic experimentation, especially in respect of classical music, runs dry.

The audio portion of the concert was more refined and interesting. The Music Lab Orchestra, an ensemble effort loosely pieced together with music students and semi-pros, displayed a discernible level of concentration and musicianship rarely found in amateur orchestras. Their balance was elegant, and sections blended en tutti with plenty of credit going to vibrant and attentive conductor Wilson Ng, who was able to conduct most of the evening’s program from memory.

Nancy Loo, Wong’s childhood piano teacher and possibly the most revered piano teacher in Hong Kong in half a century, survived the Gershwin without making much of an impactful impression. To be sure, in the lighter legato passages, Loo’s playing was masterful and expansive: she would occasionally temper her pace just enough to offer a more deeply-nuanced, personal touch. But in Gershwin’s starker, faster passages, her fingers weighed on her momentum and interpretation, constricting her output to one of overworked caution. At times, Loo sounded and looked as if she was trying in vain to reach a pace and dynamic she would expect of herself but could not. Ng, standing at her side and often looking over her playing, valiantly kept the piano in synchronization with that of the orchestra. Loo most certainly has played the piece many times over her long and illustrious career as concert pianist and educator, but at least in this particular evening, she managed to show only what seemed to be short glimpses of her former self.

By contrast, KaJeng Wong displayed in the Mussorgsky-Naoumoff piece the sort of pace, power, and determination that were equally desired in Loo’s playing. When Wong dropped his first few chords, all the sound previously carpeted under the Steinway reemerged with flair and power. A former student of the arranging composer, Wong was in his typical self, running through the piano cadenzas with rapid pace and effusing bold confidence not usually seen in pianist of his age. The Mussorgsky-Naoumoff is usually listed as a concerto, but the composition is more akin to a symphonic duet between an orchestra and a piano where much of the musical drama occurs not in unison but via an ebb and flow of call and response. In that respect, the effort between Wong and Ng was a rather satisfying one.

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