Video

Solo Performances

Beethoven Piano Concerto No 5 in E flat Major - "Emperor" is one of the most known pieces by Ludvig van Beethoven. It is with brilliance, imagination, dignity, passion, and so much more. This is a performance of me with the UMKC student orchestra and conductor Adam Boyer, after winning the concerto competition in 2020. It was also the last public performance I had before the long quarantine of COVID in 2020.

Liszt B minor is a monster and a miracle. I was told that “when it comes to perform the Liszt Sonata, there is a thin line between the sublime and the ridiculous”. This video records my journey with such a masterpiece, and an unforgettable learning experience in Vienna in Summer 2021, founded by the International Lieven Piano Foundation.

I did not know the feeling of being born again until last week – that is how I felt after my first formal performance of the Op. 106 “Hammerklavier” by Beethoven. People awed “Hammerklavier”. As stated by my esteemed mentor, Alon Goldstein, Op.106 is one of the three “carte de visite” (along with the Diabelli Variation and the Goldberg Variation) for pianists. One pulls the card out, his high caliber is validated. This humongous piece of power presents a challenge from the very first note to the very last — in fact, now that I am recalling my experience, this is not true — the struggle actually begins before the beginning and lasts... forever.

Chopin wrote these preludes during a particularly turbulent period of his life, around 1838 to 1839, while residing in Majorca with George Sand and hoping to get better with his tuberculosis. The isolation and the harsh conditions of winter contributed to the introspective and sometimes the tempestuous nature of the music. From the hauntingly poetry of the first prelude in C major, to the dramatic urgency of the eighth Prelude in f sharp minor, each piece and calculates distinct emotional power and pianistic techniques that inspired many great pianist to give them subtitles.

Sergei Prokofiev's Toccata in D Minor, Op. 11, composed in 1912, is a brilliant showcase of virtuosic piano technique and modernist musical expression. This piece, known for its relentless pace and dynamic complexity, demands exceptional precision and stamina from the performer. The Toccata is characterized by its driving rhythms, rapid passages, and sharp contrasts, encapsulating the energy and innovation of early 20th-century piano music. Performance Challenges Performing Prokofiev's Toccata presents numerous challenges, particularly in mastering the extreme registers of the piano while maintaining the unceasing, fast pulse that drives the piece forward. The work requires not only technical prowess but also the ability to navigate its intricate dynamic layers—Prokofiev was meticulous about the tiers of dynamics throughout, demanding clear differentiation between them.

Haydn's Piano Sonata in C Minor, Hob. 20, is a brilliant gem in the history of classical music. This piece not only showcases Haydn's exquisite compositional technique but is also rich in emotional expression and dramatic contrast. The opening melody is captivating, with a striking contrast between the poignant theme and powerful chords. The second movement's beauty and lyricism transport listeners into a dreamy musical world. The final movement, an allegro, is like a joyous dance, brimming with energy and passion. Every note tells Haydn's musical story, taking listeners on a journey through time to experience the boundless charm of classical music.

The level of virtuosity in Mozart k. 459 is surprising to me, as I would not always relate “virtuoso” first with Mozart. Three fast movements (no slow movement), running passages of sparkling fingers, smart entrances of phrases, vivid operatic characters… A performance with the West Chester Symphony, NY, under Barry Hoffman.

"Une barque sur l'océan" portrays the vastness and motion of the ocean, with sweeping arpeggios and dynamic swells that evoke the ebb and flow of waves. Performing this piece has been an inspiring journey, tapping into the depth and complexity of Ravel's vision. This performance is just the beginning of my exploration of "Miroirs." I am inspired to complete the entire set in the near future, each piece offering its own unique challenges and evocative imagery. Join me as I delve deeper into Ravel's captivating musical landscapes.

Chopin’s Preludes are a series of emotional vignettes, each with its distinct mood and character. My approach has been one of deepening acquaintance, revisiting this set multiple times. As the legendary pianist Vladimir Horowitz once noted, "I only know a piece after I go back to it six times." This recording captures my third engagement with these preludes, marking the halfway point of my journey to truly "know" them. Each revisit brings new insights and nuances, as our 'relationship' deepens, revealing layers and depths previously unexplored. Listeners can expect a performance that combines technical precision with emotional depth, reflecting an ongoing dialogue between performer and composer. For those who have followed my musical journey with Op. 28 from an earlier stages, this recording offers a fresh perspective on the growth and evolution of my interpretive insights.

The "Wanderer Fantasy," Op. 15 (D. 760), stands out in Schubert’s oeuvre for its innovative structure and emotional depth. Named after Schubert’s song "Der Wanderer," it embodies the themes of quest and unattainable longing, a reflection of the Romantic spirit of its time. The piece’s structure is remarkable, intertwining four distinct movements into a single uninterrupted piece, a radical departure from the traditional multi-movement form of the period. It progresses through a sequence of varying tempos and moods, challenging the pianist to maintain thematic and emotional continuity throughout. This work’s demands on the performer are immense, integrating complex finger-work, wide leaps across the keyboard, and rapid changes in dynamics. Schubert himself reputedly said of the Fantasy, "the devil may play it," underscoring its difficulty. It requires not only technical proficiency but profound interpretive skills to convey the depth of the wanderer’s journey—from turbulent despair to moments of sublime tranquility.

Johann Sebastian Bach’s Well-Tempered Clavier, Book II, composed in 1742, remains a pivotal work that demonstrates the composer’s profound influence on the structure and possibility of keyboard music. The Prelude and Fugue in D Minor, BWV 875, featured in this performance, encapsulates Bach's mastery in fusing technical skill with expressive depth. The Prelude opens with a brisk, flowing theme that conveys both urgency and intricacy. Its continuous semiquaver movement demands both precision and fluidity, presenting a vivid tableau of Bach's stylistic eloquence. This section's architecture allows for a dynamic exploration of the D minor key, weaving through a series of modulations that highlight the emotional range of the minor tonality. Transitioning seamlessly, the Fugue introduces a solemn, contemplative subject that contrasts with the prelude's vivacious pace. This four-voice fugue is a testament to Bach's contrapuntal genius, featuring intricate overlays of the main theme that evolve throughout the piece. Each entry of the subject and its developments not only deepen the fugue’s complex texture but also expand its emotional narrative, leading to a compelling and resolute closure.