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Award-winning young pianist Wong Shuen
Da proves that having two personalities is better than one
 In
2008 Wong Shuen Da won the HSBC Piano Competition performing
one of the most challenging piano works in the test pieces programme.
CH Loh interviewed Wong for Off The Edge in the April issue.
Off The Edge, Apr 09 (CH Loh)
In 2008 the HSBC Piano Competition chalked a milestone when
it introduced contemporary Malaysian pieces into the compulsory
semi-finals repertoire for young pianists participating in one
of the most watched piano competitions in the country. It would
seem at first that out of the many pieces that the participants
had to choose from, that none would dare to attempt the two
pieces put up by some of Malaysia's avant garde composers, whose
works are so notoriously complex that his very name often strikes
fear amongst professional practising musicians.
Boldly going where no young pianist in Malaysia had gone before,
one young hopeful, imposing through his towering build but affecting
for his proportionate shyness, stepped up to the challenge and
not only delivered the imposing Splattered Landscape but blew
the audience away with his confident and poetic account of the
piece. Needless to say, he was rewarded for his courage and
hard work when he walked off with the first prize for the competition.
Only in his early 20s, Wong Shuen Da is the protégé
of several illustrious teachers - pianist-composer Ng Chong
Lim, and keyboard veterans Lai Mei Kuen, and Loo Bang Hean.
And it is pretty clear they taught him well for if Wong's success
is anything, it is a good sign that Malaysian pianists have
finally come of age.
OTE: Of the many Malaysian
pieces that were offered, what drew you to your choice of Splattered
Landscape?
I always like to perform contemporary
pieces that enable me to combine a sense of creativity within
a strict coherent structure. Which means although I calculate
everything, from rhythm to metre, I approach the piece from
a 'colourful' point of view. That particular piece, Splattered
Landscape fitted my ideal of a contemporary piece. I liked it
better than Illusory Angel, which was freer in style. I also
like modern compositions which have an element of space and
time incorporated into it, and which explore the different sonorities
of the instrument without losing a sense of context.
It is a very challenging piece, especially for a young pianist,
so how was your experience in learning it for the competition?
 Well,
I enjoyed learning it as it satisfied my artistic side and logical
side at the same time. Performing it was wonderful, I felt it
took me out of this world. What went through my mind during
the competition, apart from hoping to win (laughs), is I tried
to focus on making music and pushing my creative possibilities.
I think performing Spattered Landscape in conjunction with Ravel's
La Valse (which I added extra orchestral parts to the original
piano transcription of Ravel's) represented the "Creative
Epicurean" side of me, while the Beethoven Sonata in F
minor Op.57 represented the "Restrained Stoic" side
of me. The name Appasionata was in fact given by Beethoven's
editors at the time - I personally find it more controlled [than
the title suggests]. I like to come up with interesting piano
programmes as well and I think I achieved that [in my competition
presentation].
You reprised the piece a few days later during the Festival's
Young Composers Workshop concert, how do you think the audience
responded to that and to the new music on the whole?
Obviously Avant-garde music is extremely revolutionary for
most audiences, not only Malaysian audiences, and I'm glad to
find them receptive and open, which is how one should listen
to new music. In a way it's like John Cage says in his theory
of sounds existing for themselves, interpenetrating each other,
but always maintaining an individual quality. Just be open-minded.
How important is Malaysian piano compositions to the pianist's
repertoire?
Well, it's never a question of importance. It is irrelevant,
because art can never be 'important'. Art and music are means
of expression. Which is why I think Malaysian composers should
think more of how to express themselves and their ideas and
their cultural heritage through their music, instead of being
occupied with whether their music is 'important' or not.
I hope I'm not being rude. That is what makes a composition
great, I think. Of course I feel that being Malaysian, I hope
to champion more works by Malaysian contemporary composers,
that is, if they want me to play their works (laughs). I'm quite
trustworthy, I promise, I will try to be as faithful as possible
and won't mutilate anything. I know how composers are so suspicious
of instrumentalist ruining their creative output. Also I'm a
nice person…..I hope!
What advice then would you give to composers who want to
write for piano?
You have to have a message - after all music is either about
communication or about colours. Or, if you can, both. If you
can evoke a particular emotion and create different colours
and sonorities at the same time, then I think you have written
something great. Please don't be cheesy as well (laughs)!
That’s one fantastic milestone passed and you’re now in
the UK. So what have you been up to?
I'm really happy here with my Masters' programme with Prof
Joan Havill, who is assisting me in developing my artistry and
emotional power in communicating through music. Of course always
in the context of interpreting the composer's intentions and
being faithful to the score and the spirit of the times when
it was written.
I've just had a good experience at the Royal Overseas League
Piano Competition in London, where I made it to the Finals,
and though I didn't win - there was only one grand prize - the
jury was very positive about my artistic progress. That was
a huge encouragement to me of course.
I also have been working regularly with a German violinist
Katharina Paul and a Dutch Cellist Martha Bijlsma in our piano
trio the Delaunay Piano Trio, and we will be performing in Utrecht,
Holland, and St Martin in the Fields, London, soon.
I have some upcoming projects, which are not confirmed yet.
Another thing I am looking forward to is the winner's concert
on July 15, I've sent an interesting programme to KLPac that
includes Liszt's Spanish Rhapsody, the rest of the programme
you have to come to find out for yourselves!
Wong Shuen Da is currently pursuing his Masters of Music
at Guildhall School of Music and Drama under a full scholarship
supported by the Kobler Trust, HSBC Bursary and the Malaysian
Youth Orchestra Foundation.
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25 June 09 |
