Hong Kong Pianist Warren Lee Enriches Bangkok

Hong Kong pianist Warren Lee in Bangkok after his successful recital

Goethe Institut Auditorium. Bangkok, Thailand. June 8, 2012. Every once in a while, a pianist new to me, gives a recital worthy of a major concert venue in a world capital, and when this occurs, it's not only a pleasant surprise, but it enriches the Bangkok classical music scene. Unfortunately, the Bangkok audience for classical piano recitals is a very small one, but the audience that does attend, about 40 in Warren Lee's case, can be counted on to show its appreciation and enthusiasm. Fortunately for the loyal audience that does exist, an artist like Warren Lee does not permit what must be disappointing numbers, to affect his performance: he gave it his all.

Less established his credentials with me during the first minute of so of his first selection, Haydn's Piano Sonata in E major (H. XI:31), which I do not recall hearing before although I own numerous CDs of Haydn's piano sonatas. His crisp clarity of tone, his fingers under complete control, his delicacy of touch coupled with power when needed, and his classical interpretation won me over. There is nothing like the transparency of a Haydn sonata to disclose technical and musical shortcomings in a performer, and their absence in Lee's playing gave a hint that tonight's recital would be a splendid affair.

A dramatic change in pace followed with two often-played Debussy prelude's "La fille aux cheveux de lin," and "La cathedrale engloutie," the later being a favorite Rubinstein encore. Lee produced exactly the right moods for both, with waves of sound and subtle changes that are the hallmark of Debussy. When power was needed, as it was in parts of "La cathedrale," Lee was cognizant of the drama, as well as the beauty, that transports the listener into Debussy's world.

One of my favorite piano pieces is the Bach-Busoni "Chaconne in D minor." I know that it is more Busoni than Bach, and that it is a smaltzy pastiche. It represents the height of romantic piano playing using all the technical inventions of Liszt, and it is made for the resources of the modern concert grand. Still, it offers the performer a great opportunity for interpretation and excitement. I have three recordings of the Bach-Busoni Chaconne, those of Pletnev, Cherkassky and Freddy Kempf, none of which are the same. Cherkassky gets a tone out of the piano that is unique, while Pletnev brings to the work the most superb technical mastery possible. Kempf's is too choppy for me, but I think that I know what he was trying to do (it didn't work). Lee rightly saw the Chaconne as an opportunity to dazzle and to capture the excitement that comes with a secure technique, while observing the need, at times, for sensitive and beautiful playing. His performance had both cohesion and drive.

Lee's "Papilions" by Robert Schumann was a model of measured style. Passing from one miniature to the next, the listener was never quite sure what interpretive tack Lee would take, except to know always that it was thoughtful, beautiful and idiomatic Schumann. 

Two Chopin pieces concluded the program: the Barcarolle and Ballade No. 4. Here again Lee had the technique and musicality to give perfectly beautiful accounts of both frequently-played works. One of the difficulties of playing Chopin is that the music is so seductive that the performer is tempted to lapse into sentimentality and exaggerated feeling and soulfulness a la Liberace. Lee, on the other hand, could have let himself loose a little, a little experimentation, spontaneity, and a little less control and more freedom with expression could have enhanced his already beautiful playing. 

I very much hope that Lee will visit Bangkok again and soon.