I was unfortunate to have hopped onto an Uber that costed me Khoo Hui Ling’s performance of Sheep May Safely Graze on top of the promotional ride. That aside, here is the rest of the piano recital reviewed. The event was an intimate affair with approximately two thirds of the seats filled at the Esplanade Recital Studio. In attendance was Khoo’s patron, Kris Tan, founder of the Kris Foundation.
Khoo started Schubert’s Sonata in B-flat Major, D. 960, with firm playing and clear phrasing of the melodic line which was not lost in the dense chords in the opening. Appropriate breathers were observed after each rumbling in the left-hand bass. Khoo’s arpeggios were executed with much grace, almost evoking a temporal ascend into higher ground. Even in minor, the melody remained strong yet sombre and pensive.
Khoo is a meticulous musician and its proven in the second movement. She approached foreign chords with vigilance, ensuring not to take the ear by too much of a surprise. Moments of stillness was in place in preparation for ventures into different keys explored by Schubert. In comparison to her not-too-heavy playing in prior movements, the third was even lighter with good balance in both bands. Khoo’s distinct articulation was also much appreciated through to the end of the sonata.
Dumka, Op. 59, written by Tchaikovsky, is said to express the cold and harsh winters experienced in the Russia. Khoo paced well the extent of her expression through the several moods in the piece. She kept a stable pulse despite fast changing melodic rhythms. Joy was exuded in the short dance section with careful execution of loud chords.
Oriental setup with flowers in a corner
8 memories for Watercolour, Op. 01, was a highlight in Khoo’s doctoral thesis. Contributing to the performance were informative documentaries, addressing both the music and paintings, that preceded the playing of the movements. The stillness and serenity in the Chinese music of Tan Dun was displayed with the calmness in Khoo’s body language and sufficient use of pedal. Notes of the highly pentatonic melodies were crisp, though the excitement overshadowed the leading line in Staccato Beans a little.
Bolcom’s The Serpent’s Kiss, saw Khoo emoting the most visually with quirky body movements and exaggerated facial expressions. The melody which grew from the bottom range up progressed fluidly, depicting a snake crawling up and around Adam/Eve. Her scaly passages were made seductive with smooth and gentle strokes on the keys and intricate pedalling. Features of this piece included the effects of stomping, tapping of the piano and clicking of the tongue by the performer. Khoo executed these with accents and dynamics in line with the music. It was a thoroughly enjoyable performance which Khoo clearly enjoyed performing as well.
Khoo made the recital chummy with her awkward yet genuine introduction to the pieces. She is a refined musician worth looking forward to more from.
The Freezing Pot 