Han-na Chang and Churen Li - Beethoven and Grieg

Singapore Symphony Orchestra
Esplanade Concert Hall, July 16

South Korean cellist-turned-conductor Han-na Chang and Singaporean pianist Churen Li are both no strangers to the Singapore Symphony Orchestra (SSO).

Chang had a commendable first outing as a conductor with the SSO a decade ago, and young Li is almost a veteran, having played in the orchestra's President's Young Performers Concert in 2013 and presented an evening in the 2021 Singapore International Piano Festival.


When Chang last appeared with the SSO, her programme spanned from a baroque Joseph Haydn cello concerto to Sergei Prokofiev's 20th-century Symphony No. 5, while Li's SIPF recital included baroque music from Bach and the works of avant-garde composer George Crumb.

In comparison, this evening's programme of music by three composers of the Romantic period - Gioachino Rossini, Edvard Grieg and Ludwig van Beethoven - seemed narrow, perhaps even risk-averse.

Rossini's William Tell Overture has much more to offer beyond its galloping horse section, made famous for its use in the Lone Ranger television series (1949 to 1957).

Written when the Italian composer was well-established and close to retirement, it has four distinct parts, beginning with an extended section for cellos and basses.

SSO principal cellist Ng Pei-Sian relishes his solos, and he and his fellow lower string musicians gave the overture its best possible opening. The ensuing storm, pastorale and finale were equally characterful, and the overture was gleefully received by the audience.

Norwegian composer Grieg's only piano concerto has been recorded over 400 times, and there are at least as many ways for the soloist to interpret the piece, which seems to offer everything, from explosive dynamism to virtuosity, playfulness and lyricism.

Pianist Churen Li has developed into a well-rounded, versatile performer, and her very committed, physical approach in the concerto was most successful. She navigated the passages reminiscent of Hungarian composer Franz Liszt comfortably, producing ample tone to match the full orchestra.


There was sensitivity in the lyrical second movement, and great vitality in the last movement, although the Norwegian dances could have done with greater lightness.

There were some lovely chamber-like exchanges between the piano and orchestra soloists throughout the concerto, but overall the orchestral playing for the concerto was not up to the standard heard in the overture.

Chang was not able to keep the orchestra in tandem with the soloist, resulting in a few ragged endings in the final movement.

Li's poise, expressiveness and keyboard abilities will surely earn her another concerto invitation from the SSO.

When that happens, hopefully her on-stage gestures - the flailing arms, her regularly lifting herself off the piano stool and her levitating left leg - are minimised. Her piano playing is more than convincing without them.

Beethoven sought to capture the ideals of Romantic heroism in his "Eroica" Symphony. But like the Grieg concerto, it speaks of much more, including a sombre funeral march in the second movement, and a highly syncopated third movement scherzo ("joke").

As in the other pieces, Chang picked comfortable, moderate tempos for the movement, less frenetic than is often heard in contemporary performances. The orchestra's playing was clean, clear and bold.

With Chang's clear directing bringing taut ensemble and good playing from all sections of the orchestra, this had the makings of a very strong performance of what is often regarded as the first romantic symphony. The SSO's winds and timpani were in excellent form, although the horn solos sounded reticent all evening.

In the end, Chang's reading was highly competent but distant. It needed more emotional nuances - the sense of struggle, the despair, the joy and ultimately the composer's triumph in writing a masterpiece while knowing that his own deafness was drawing ever closer