The Two Sides of Shuenda

Published in Sunday People, New Sunday People
5th July 2009

Two sides of Wong Shuenda
MAX KOH



WONG Shuenda. Roll the consonants around. Sounds like a film star from Japan, doesn’t he? He’s an upcoming classical piano player, just back from London, for a performance in Kuala Lumpur.

I first encountered Shuenda when he performed Chopin’s Piano Concerto No.1 in E Minor at the HSBC Classics Piano Competition last year.

I remember the crowd gave him a thunderous ovation after his heartfelt performance.

He beat 32 others to grab the first HSBC Classics Bursary Award. As his prize, Shuenda, now 23, will perform a solo recital at the HSBC Classics Festival Of Rising Stars on July 15.

Shuenda has studied under some of the best local teachers such as Lai Mei Kuen, Ng Chong Lim, and Loo Bang Hean, and has won numerous awards including the Arthur Lepthien International Piano Competition 2005 in Germany, the Malaysian Youth Music Festival 2007 and Royal Overseas League Music Piano Competition 2009 in London.

After the HSBC competition, Shuenda pursued his Master’s Degree in Guildhall School of Drama & Music in London supported by the Kobler Trust, the HSBC Bursary and the Malaysian Youth Orchestra Foundation.

His solo recital for the upcoming festival will include intense pieces from Bach, Chopin as well as flowery ones like Liszt’s Spanish Rhapsody and four preludes by Debussy.

“I chose these pieces for the programme as I felt it would bring out the two sides of my personality — the outgoing side, and the melancholic and introvert part,” says a soft-spoken Shuenda in a recent Skype interview.

“I will begin with Bach’s Prelude And Fugue In F sharp Minor. It’s a tragic and extremely religious piece. Then comes Schubert’s 2 Impromptus from D. 935. It’s filled with such sadness and regret.

“I chose to do Chopin’s Polonaise-Fantasie In A flat Op.61 as it is a difficult, tense piece which was written during a dark moment in his life. I think it’s a beautiful piece.”

After the intermission, Shuenda will showcase his gregarious side by performing the joyous flourishes of Debussy’s preludes, and Liszt’s Spanish Rhapsody which allow him to exercise his “flashy, virtuosic moves”.

“I think it’ll really be an exciting night for the audience,” Shuenda adds.

His love for music began by chance, he says. He was four when he heard his sister playing the piano.

“After one of her lessons, I went up to the piano and started playing with the keys. Her teacher (who soon became his teacher), Lai, recognised my talent and told my father about it. I was promptly enrolled at a music school.

“Growing up, I also learnt to play the violin and cello. I played some jazz and pop too and composed some pop songs when I was younger,” he says with a laugh.

“However, classical music resonates well with me. I’m able to really identify with the composers and what they felt even though they’ve been dead for centuries.

“The piano remains my main instrument as I feel such ease and fluidity when expressing myself with the instrument,” says Shuenda who was recently nominated for Most Outstanding Solo Performance at the 2009 BOH Cameronian Arts Awards.

“Classical music speaks to my soul in such a direct and powerful way.”

Shuenda decided that he wanted to become a professional classical pianist and practiced hard at it. He entered many piano competitions — national and international — and took home many awards.

He then proceeded to do his music degree in Staatliche Musikhochschule Freiburg, Germany where he studied with Elza Kolodin and participated in master classes with V. Margulis, J. Rouvier, and I. Dumitrescu, among others.

He eventually graduated with high distinction in 2006.

Shuenda has given concerts in Singapore, Thailand, the Philippines, Taiwan, Holland and the UK. Some of his notable performances were at the Opening of the British Commonwealth Games, concerts at Bunkamura hall in Japan, Kasteel Terworm in Holland, and the Philippines Centennial Independence in Manila.

“Growing up, I didn’t really click well with my peers. I was hypersensitive and would always over-think the motives behind people’s comments,” says Sheunda. “I found that music was the most honest way I could express myself.”

So what else inspires Shuenda besides music in his career?

“I would love to say that I am inspired by visual arts and literature but I believe I am most inspired by music itself.

“Music is, in fact, the most direct form of art which connects directly with the heart. When you look at visual arts, you need to use the mind in order to compute its meaning and what the artiste is trying to say, but music goes straight to the heart.”

He counts Chopin and Ravel as some of his favourite composers.

“Everything that Chopin writes is beautiful and refined without being too sentimental. There is strength behind his music, where his harmony is amazing and the modulation is simply moving,” says Shuenda.

“Ravel has such a pull on me as there is such an amazing world of sounds and colours in his compositions. Beethoven remains a mountain for me to overcome as he is a different person from who I am. He has a strong and definite way of expressing himself, as opposed to my more fluid and fluent style.”

Shuenda says he loves compositions by young Malaysian authors and modern compositions which push the boundaries.

Shuenda has been busy performing and studying in Guildhall and he loves the opportunities present there.

“Apart from completing my Master’s here, I have no definite plans yet. I am relishing the opportunities to perform in various places, from halls to churches, and attaining wisdom and honing my skills, thanks to the tutelage of Professor Joan Havill.

“But I do plan to return to Malaysia as I hope to share my experiences and skills with the younger ones. I believe it is important to share what you have learnt with others.”

Wong Shuenda will perform his solo piano recital at the HSBC Classics Festival Of The Rising Stars at the Kuala Lumpur Performing Arts Centre on July 15 at 8.30pm. Other highlights in the festival include a chamber concert by the popular Malaysian Piano Trio comprising Loo Bang Hean, Yap Ling and Jonathan Oh. Visit www.klpac.org.

The Voice Triumphs (Sunday People)

First published in New Sunday Times
28th December 2008

The Voice triumphs
MAX KOH


There’s nothing simple about Russell Watson’s rise to fame. Undaunted by his battles with two devastating illnesses, the English tenor shares his story with MAX KOH



HEARING Russell Watson’s story, one may easily surmise it as a typical rags-to-riches tale. The English tenor whose nickname is “The Voice”, was a humble factory worker in Salford who beat 400 contenders to win a local radio talent competition.

He then pursued his dream of becoming a singer but not before toiling as a musical apprentice at the local working men’s clubs for years.

His big break came when he was invited to sing at Old Trafford before the 1999 Manchester United’s Premiership winning match. He received a standing ovation for his performance of the World Cup theme, Nessum Dorma.

His prestigious audience included the President of United States, former British Prime Minister Tony Blair, the Yang DiPertuan Negara and the late Pope John Paul II.

At 42, Watson could not be more thankful for his life now. In 2003, he faced a career-threatening situation when doctor found a growth in his vocal chord.

He was lucky to recover with his voice intact but a few years later he was faced with a new threat. In 2006, Watson was diagnosed with tumour the size of two golf balls in his brain.

The next three years was a battle: “Battling with cancer for the past three years has been tough but it was a real awakening. It certainly made me appreciate life even more. It changed my priorities and made me appreciate relationships, friends and most importantly, my two daughters.”

While Watson successfully underwent a surgery to remove the growth, he could barely walk and the tumour affected his pituitary glands which controlled hormone levels. His mood swings went from ecstatic to suicidal.

However, he eventually recovered and released his fifth album, That’s Life, in March 2007.

“It was a very emotional time for me. When I listen to the title track, I can hear the meaning of the words. It certainly changed the way I sang the songs.”

However, disaster struck again. The cancer returned when he was recording his sixth studio album, Outside In in late 2007. An MRI scan showed that a regrowth of his brain tumour was bleeding into his brain.

Again, Watson recovered after another life-threatening operation.

He was recently in Kuala Lumpur after the release of his latest album, People Get Ready (Universal Music Malaysia), which sees him tackling Motown classics such as Me And Mrs Jones, Papa Was A Rolling Stone, Soul Man and House Of The Rising Sun.

“The previous two albums saw me spending half of the time in the hospital bed while recording. With this album, I am looking at a new chapter in my life and moving on from the turbulent years.

“There are two distinct sounds you can hear in the album. One is a slick sound with strings section which was recorded in Capitol Studios, Los Angeles. The other, which is a little more ‘roguish’, was recorded in London with the same backing band as Amy Winehouse’s. It sure is a nice contrast of both the angry and soulful man in the new album.”

The different musical styles do not elude his fans as he is known to sing from Italian arias to Irish folk tunes to rock numbers.

“It is not really a departure, although, perhaps it is time for me release a classical album.”

As a performer, Watson believes that the cancer has changed his perspective: “I definitely have a more matured performance now. You can really relate to the story and it reflects the life you have lived. Singing is, after all, more than just perfecting the techniques. It’s about how to channel your soul into it.”

What Drives Gyorgy the Prodigy

First published in Sunday People, New Sunday Times
7th December 2008



(click on pic for better view)

Viva La Vida album review (Sunday People)

Published in Sunday People, NSUNT
31 August 2008




Coldplay: Viva La Vida (Universal Music)

QUALMS about Coldplay’s newest album straying too far into the experimental zone can be quashed as the band retains much of its distinct style heard in the previous albums.

The band has opted for a more atmospheric album in Viva La Vida with layers of sonic texture. Unlike X&Y which was a bit too polished, this album is a delectable treat to the ears.

Thanks goes to producer Brian Eno who helped Coldplay engineer their new sound. Eno is responsible for projecting U2 to superstardom with its album Joshua Tree 20 years ago. He’s done it again for Coldplay.

The title track opens with a strings section and a marching beat which reveals a new side of the band.

Lead single Violet Hill, currently on air, hints at venturing into a more spacious sonic landscape but holds on to that melody hook that fans love.

Cemeteries of London, a song that is as bleak as its subject, is a modern lamentation of gloom and spiritual lapse in the city. Fans will hear Coldplay’s familiar shimmering guitar works here.

Lost! might catch listeners by surprise with its organ pipes but as lead vocalist Chris Martin begins to sing, one can’t help but be mesmerised.

Highlights on the album include Strawberry Swing with its sunny disposition and Yes with a Middle Eastern-flavoured strings section.

In the age of Itunes and Mp3s, Coldplay teaches us again the joy of listening to an album from start to finish. All 10 songs on this album is a gem. Viva La Vida! — By MAX KOH

MPO Reaches Out (Sunday People)

Published in New Sunday Times
27th July 2008

MPO reaches out

Tan Poh Joo bringing music to the Sekolah Seri Cahaya students

Children ready with their instruments

Tan Poh Kim showing children that music is fun

MAX KOH follows two Malaysian sisters from Malaysian Philharmonic Orchestra as they bring classical music to the masses

The main school hall of Sekolah Seri Cahaya in Shah Alam is filled to the brim with students from kindergarten right up to secondary school.

In the first two rows are children holding instruments — violins and recorders. Their eyes are trained on the two che che (big sisters in Mandarin) onstage.

“Can you kids clap along as we play this song?” asked one che che with the violin. “Yes!” reply the children loudly.

With a cello in hand, the other sister begins to play the ever-recognisable bass melody of the tune, Pink Panther. The kids applaud. Big grins emerge on their faces. They continue to clap along as the main melody is conjured on the violin.

You don’t normally find musicians holding sessions in schools in Malaysia, let alone two sisters.

As they begin to play Kodaly Opus No. 7, a duo for violin and cello, it is obvious that Tan Poh Kim and Tan Poh Joo are well-trained.

The kids are there to taste a slice of classical music as the event is part of the MPO’s Education & Outreach Programme (Encounter). This is a continuous initiative to bring classical music outside of orchestral halls and to the people.

Previously, Encounter has successfully brought music to hospitals (Hospital Kuala Lumpur, Selayang Hospital, HUKM), schools (Sekolah Sultan Alam Shah), shelter homes (Rumah Pengasih, Rumah Orang Tua Seri Setia) and charity homes.

With the MPO taking a seasonal break, the Tan sisters decided to spend their free time bringing music to the children.

“Earlier this year, we approached the Encounter people and told them that we wanted to do an outreach. We had done this before but individually. We thought, why not do this together as a sister team?” recalls Poh Kim, the older of the two who joined the orchestra in 2002.

The sisters came up with the songlist for the school. It is a mix of classical pieces and more contemporary tunes.

“We played Mozart’s Duo for Violin and Cello, Over The Rainbow from The Wizard of Oz, the Pink Panther theme and Kodaly’s Opus,” Poh Joo says, adding that staying in the same house makes it easier for them to discuss the songs.

“We decided to do Pink Panther because we can get the children to clap along to the rhythm,” adds Poh Kim.

Clearly, Pink Panther was a hit with the children as some of the younger kids later told me how much they liked it.

But it all ended in under half an hour. “Well, I suppose next time we can make our set list longer now that we got a feel of things,” says Poh Kim.

The sisters also had a fun time when they played with the school’s student ensemble which comprises children aged seven to 17.

Armed with recorders and violins, cutesy was the key as the kids played (and even danced) to a samba tune onstage. It was short and definitely sweet.

According to music teacher Alice Goh Lih Yen, the students have been looking forward to the event. “We only started this ensemble this year and some of them were pretty nervous to play on stage as they only practiced for a month. However, they were very eager about it.”

Goh knew about the MPO’s Outreach programme and initially thought of bringing the kids to the Dewan Filharmonik Petronas.

“However, they told me that they would love to come and I thought it was really nice of them,” adds Goh who hopes to make this a yearly programme for the school.

For the sisters, the event is a time of fun and a way for them to reach out to the kids. “I think it is our responsibility to cultivate music interest in kids and teach them that music is fun. We want to tell them that it is possible to be musicians and hopefully inspire them when they see two Malaysian sisters playing with the MPO,” says Poh Kim, who remembered how she was similarly inspired in school.

Poh Kim joined the MPO in August 2002, the same year she graduated from Indiana University. Before that, she had performed with the Evansville Philharmonic Orchestra and Owensboro Symphony Orchestra.

Her younger sister also entered Indiana University but not before playing with the National Symphony Orchestra and Kuala Lumpur Symphony Orchestra two years after she started playing the cello.

In 2004, she became the first Malaysian to be accepted with full scholarship into the master’s programme of the Juilliard School which boasts famous alumni such as Yo-Yo Ma and Sarah Cheng. She joined the MPO in 2007.

Besides the Outreach performance, the MPO Encounter also offers a broad range of activities for children of all ages such as in-house performances and instrumental lessons. For more information, call the Encounter Hotline at 03-20517688.

In a Joyous Mood (Sunday People)

First published in New Straits Times, Sunday People

2 September 2008

In a joyous mood

MAX KOH 

The Malaysian Philharmonic Orchestra is 10 years old. MAX KOH goes to the birthday party 

During the economic crisis in 1998, classical music aficionados must have thanked the heavens for it was on August 17 that year that the Malaysian Philharmonic Orchestra (MPO) was born.

Along with the opening of the Dewan Filharmonik Petronas (DFP), classical music was made accessible to all and sundry (as long as they didn’t wear shorts, slippers, jeans or T-shirts for the shows).

Talented sparks from all over the world have since appeared at the hall known for its excellent acoustics. From noted orchestras such as the BBC Symphony and New York Philharmonic to respected soloists such as soprano Kiri Te Kanawa and violinist Sarah Chang and Joshua Bell.

Some of the biggest names in the jazz and world music scenes including James Morrison, the Count Basie Orchestra, The Chieftains and Amjad Ali Khan have played at the DFP.

So the decade was marked with a birthday party, on stage of course. It was a nice, cordial affair with guest conductor George Ellis leading the MPO.

The Australian, known to his fans as Big G, was in a jovial mood and set the party off with a swing with his rousing composition, Celebration Overture.

In the introduction to the next piece, Bizet’s Habanera from Carmen Suite No. 2, Ellis pointed out the importance of dynamics in a song; the varying degrees of loudness and softness in a musical passage.

The Habanera comes from the Carmen opera, where the character Carmen performs a stirring dance to woo the handsome soldier, Don Jose.

“We invite you to pay attention to the orchestra members and join the fun,” Ellis told the audience.

Whenever the musical passage flitted from soft to loud, the members of the orchestra would stand up. Soon enough, the audience joined the orchestra in the movements. It was like a big aerobic class in the balloon-decorated hall.

Now, who said you can’t work out to classical music? Ellis then invited us to clap along as tempo was important in the next piece, Grieg’s In The Hall Of The Mountain King..

A popular tune, most recently used in the film Corpse Bride, it originally tells the story of Peer who sneaked into the Mountain Troll King’s castle. Having insulted the king’s daughters, the angry, evil trolls soon chase Peer.

The three-minute song began eerily with the bassoon, which signified Peer’s careful, slow steps.

The music then soon worked itself up into frenzy as the trolls spotted Peer and gave chase.

As Peer desperately ran out of the cave, the music becames louder and faster; before the crashing cymbals and thumping timpani burst forth to silence the other instruments.

The audience could barely catch their breath as they struggled to keep up with the musical frenzy.

As a restful piece, we then had an old Russian fairy tale — the famous Prokofiev’s Peter And The Wolf.

It tells of the story of Peter who ventures out the garden gates into the countryside and meets a host of characters.

For the orchestra piece, each character was given its own motif played by an instrument. The bird was played by the flute, the cat by the clarinet, and so on.

Eventually, the big bad wolf appeared played by three French horns.

Wonderfully performed by the orchestra, the story was easily conjured to life. Many smiles were lit that evening, both children and adult.

Then came the lovely ballets of Shostakovich, the Polka and the Gallop.

The two movements from the ballet, The Limpid Stream, turned out to be lively romps, with boisterous duets and rattling percussion. They fit the celebratory mood that evening.

Alas, all parties must come to an end. And the MPO gave us a treat with the classic birthday song.

The audience stood up and sang along as a big birthday cake was being wheeled out onstage.

We all got a cupcake each. Aww.

To me, it was way too short a party as it ended in less than an hour. But it was fun, so thank you and best wishes.

Unique Approach to Baroque (Sunday People)

First published in New Straits Times, Sunday People

17 November 2007

Unique Approach to Baroque

The works of baroque composers are given a new spin in the capable hands of flautist Emmanuel Pahud and the Berlin Baroque Soloists. MAX KOH writes

 

Award winner Emmanuel Pahud

EMMANUEL Pahud is a celebrated flautist who plays with the prestigious Berlin Philharmonic Orchestra. He’s also a solo artist and the only flautist in the world to have a solo recording contract with a major record company (EMI) and was named the “Instrumentalist of the Year” at the Victoire de la Musique Award, Paris in 1997.

Known for his versatility, musicality and extraordinary technique, he recently wowed the audience at the Dewan Filharmonik Petronas (DFP) by playing selected baroque pieces from composers Vivaldi, Pisendel, Bach, and Telemann. 

Pahud was accompanied by the Berlin Baroque Soloists, a 14-member-ensemble comprising members of the renowned Berlin Orchestra. 

Led by director Rainer Kussmaul, the ensemble has a unique approach to the music of the 1600s and 1700s by using old bows of different periods on old but modernised instruments. It is said to capture the true essence of the work, as one could imagine it being heard within the castle walls centuries ago. 

With such a winning combination, one could expect nothing short of magic during their debut performance at the DFP. 

On the first night, Pahud and the Soloists performed an all-Vivaldi repertoire, rendering flawlessly the Concerto grosso in D minor, Concerto in Viola d’amore in D and Concerto for Flute in G minor “La Notte”. 

Pahud soared above the wonderful waves of melodies created by the esteemed ensemble. The soloists were no less remarkable. 

The next evening saw the two artistes perform selected pieces such as Pisendel’s Sonata in C minor, Telemann’s Concerto Ripieno in E flat, Viola Concerto in G, Concerto for Transverse Flute in D and Bach’s Brandenburg Concerto No.5 in D, Concerto for Flute, Violin and Harpsicord & Strings in A minor. 

Pahud first picked up a musical instrument when he heard music coming from his neighbour. 

“At that time, I asked my mother ‘what is that sound?’. When I found out that it was Mozart’s Flute Concerto No. 1, I fell in love with it immediately,” he says. 

Pahud was five years old then. The following year, he studied music in Rome under the tutelage of Francois Binet, then in Brussels with Michel Moinil and Carlos Bruneel and in Basel with Peter-Lukas Graf. 

However, his first instrument was not the flute. “I actually first learned the violin. My brother, on the other hand, took up the viola. However, I soon feel in love with the sound of the flute and took up the instrument. My brother on the other hand, continued to play the violin. But today, he’s an engineer,” says Pahud, laughing at the recollection. 

His passion for music soon led him to the Conservatoire National Superieur de Musique de Paris, where he graduated with the Premier Prix in 1990. He then continued his studies with Aurele Nicolet, a world-renowned flautist and teacher. 

Pahud has won first prizes in many major competitions. In 1992, he won eight out of the 12 prizes at the international music competitions of Geneva and Kobe in 1989 and Duino in 1988. He also took the Soloist’s Prize in the Community Radio Awards in Switzerland, and the European Council’s Juventus Prize. 

At 22, Pahud made history when he was appointed the youngest principal flute of the Berlin Philharmonic Orchestra. Before that he held the same position with the Basle Radio Symphony. By then, Pahud was the only flautist in the world to have a contract with a major recording company, EMI. 

His debut CD, the Complete Mozart Concertos For Flute And For Flute And Harp With The Berlin Philharmonic And Claudio Abbado, was released in 1997 and earned the Diapason’s “CD Of The Year” Fono-Forum award, and the “Geijitsu” award from the Japanese recording industry. His other acclaimed recordings include Flotenmusik and a recital disc of French works with Eric Le Sage. 

Although this is his first time performing in Malaysia, it is not his first time with the BBS. 

“We have been playing with each other, even before the inception of the BBS 12 years ago,” explains BBS director Kussmaul. “We would, from time to time, feature Pahud as our special guest when performing around the world.” 

Adds Pahud: “On the average, soloists would play 40-50 concerts. However, I believe that we’ve played more than 80 in the last six months. You can say we practically live on stage. 

“I guess that is how much I love music and performing. It is in my blood. Whether solo or with an orchestra, I suppose I’ll love doing this until the day I die.” 

And it is this magical collaboration between the Soloists and Pahud that has brought the works of the baroque composers to life. It’s amazing how they managed to lend a unique and inimitable tone to each piece. And how music of the old world is relived within the walls of our hall.