Latest news with #SingaporeInternationalPianoFestival
Straits Times
05-07-2025
- Entertainment
- Straits Times
Concert review: Karel Kosarek delights with programme of Bohemian and jazz selections
Sign up now: Get ST's newsletters delivered to your inbox Victoria Concert Hall July 4, 8pm The Singapore International Piano Festival has come and gone, but the piano music continues. This weekend, Victoria Concert Hall hosted another two fine pianists. The first was veteran Czech pianist Karel Kosarek, replacing his young and prodigious compatriot, the indisposed Jan Schulmeister.
Straits Times
28-06-2025
- Entertainment
- Straits Times
Concert review: Kyoko Hashimoto's recital a masterclass in sound, colour and nuance
Pianist Kyoko Hashimoto played at the Victoria Concert Hall on June 27 as part of the Singapore International Piano Festival. PHOTO: CLIVE CHOO 31st Singapore International Piano Festival: Kyoko Hashimoto In Recital Victoria Concert Hall June 27, 7.30pm Japanese pianist Kyoko Hashimoto, originally listed to perform at the Singapore International Piano Festival in 2022 but had to cancel because of Covid-19, finally made her belated debut here. Her recital, comprising mostly short 20th-century works and reminiscent of Frenchman Pierre-Laurent Aimard's recital in 2023, was a revelation. The first half was wholly devoted to preludes by French composers, beginning with three of Gabriel Faure's Nine Preludes (Op. 103) dating from 1909 to 1910 . The rarity of these miniatures was matched by the masterclass of sound, colour and nuance provided by Hashimoto. Late Faure is elusive because of chromaticisms and paucity of outright melody, but she made one listen with intent. Following these, three of Olivier Messiaen's Eight Preludes ( 1928 to 1929 ), each carrying descriptive French titles, became far less forbidding. These were essentially extrapolations of Claude Debussy's sonic palette into the future, and with the imagination piqued, Instants Defunts (Departed Moments) simply evoked sorrow and regret. Bell-like registers and frequently altering rhythms in Les Sons Impalpables Du Reve (Impalpable Sounds Of A Dream) were made to sound catchy and inviting, while Cloches D'Angoisses Et Larmes D'Adieu (Bells Of Anguish And Tears Of Farewell) took hurt feelings and frazzled emotions to another level. The selections from Debussy's First Book Of Preludes (1909 to 1910 ) were the evening's most familiar music. Most impressionist and atmospheric was Sounds And Scents Mingle In The Evening Air, its feel of mysticism contrasted with the infectious tarantella rhythm of The Hills Of Anacapri. The build-up for The Engulfed Cathedral was epic in Hashimoto's hands, while The Dance Of Puck provided moments of comedy which considerably lightened the proceedings. The recital's second half opened with Japanese composer Toru Takemitsu's most famous piano work, Rain Tree Sketch II (1992), composed in memory of Messiaen. Hashimoto's very deliberate approach to this tribute strongly aligned with the earlier idioms encountered. Coming as a jolt to the system was iconoclastic French modernist Pierre Boulez's 12 Notations (1945), atonal aphorisms 12 bars long and each lasting less than a minute. Extremes of dynamics were exploited, including fists slamming clusters on the keyboard, all guaranteed to shock but not long enough to cause lasting offence. All this made Polish composer Karol Szymanowski's early Etude In B Flat Minor (Op.4 No.3) sound old-fashioned which, like Sergei Rachmaninov's Prelude In C Sharp Minor (Op.3 No.2), chagrined the composer with its over-popularity. The recital's only extended and earliest work was Russian Alexander Scriabin's First Sonata In F Minor (Op. 6) from 1892 . Hashimoto was the ever-resourceful guide through its four movements, which headed inexorably to ultimate tragedy, with a plodding a funeral march as its conclusion. The pleasing symmetry forged with American pianist Kate Liu's performance of Frederic Chopin's Funeral March Sonata the previous evening was purely coincidental. Hashimoto's two encores provided pure respite: the lyricism of Scriabin's Prelude In C Sharp Minor (Op.11 No. 9) and melancholic lilt of Chopin's Mazurka In A Minor (Op. 17 No. 4). Join ST's Telegram channel and get the latest breaking news delivered to you.
Straits Times
27-06-2025
- Entertainment
- Straits Times
Concert review: Kate Liu delivers thoughtful takes in Singapore International Piano Festival opening
Singapore-born pianist Kate Liu opened the Singapore International Piano Festival on June 26. PHOTO: CLIVE CHOO Kate Liu In Recital Victoria Concert Hall June 26, 7.30pm Singapore-born, New York-based pianist Kate Liu opened the 2025 Singapore International Piano Festival (SIPF) with a programme which drew many piano enthusiasts. Join ST's Telegram channel and get the latest breaking news delivered to you.
