On the evening of November 8, at the Grand Concert Hall of the Vietnam National Academy of Music, pianist Luu Hong Quang delivered a profound and complete solo recital titled Spiritual Essence Of Water.
This was not merely a concert, but a journey connecting Vietnamese audiences with the essence of world classical music through the imagery of “water” – a symbol of life, the flow of time, and the soul’s origin.
The event was a significant part of the VIPCF Laureate Series, organized by the Vietnam International Piano Competition (VIPCF).
Luu Hong Quang – a highly trained and internationally acclaimed piano talent – chose Hanoi to debut three classical masterpieces never before performed in his homeland. This contributes to elevating classical music activities in Vietnam within the context of international integration.
The concert opened with A boat on the ocean (Une barque sur l’océan) by French composer Maurice Ravel (1875-1937), extracted from the suite Miroirs (Mirrors).
From its very title, Ravel transported listeners to an impressive space where nature is not just a landscape but also a reflection of emotions.
A boat on the ocean is a major challenge for any pianist, demanding masterful technique to create shimmering, almost illusory sonic effects that mimic the undulation of water.
Luu Hong Quang handled this piece with subtlety and rich imagination. With a calm demeanor, he created the sound of the vast ocean: from fast, light note sequences like sparkling sunlight on a peaceful sea, to surging, powerful climaxes like fierce waves or sudden storms.
The audience felt the image of a small boat, precarious and adrift amidst majestic nature – where humans become tiny before the pristine and endless power of water.
The artist’s way of concluding the piece with fading sounds, as if the boat was drifting towards the horizon, left a lingering melancholy, opening a philosophy about the loneliness yet hope of humanity in the currents of life.
Luu Hong Quang’s performance style in this movement was not just technical recreation but a deep immersion, fully conveying the romantic and delicate spirit of the impressionistic school.
If Ravel led the audience to the boundless ocean, the second work – the suite Venezia e Napoli (Venice and Naples) by Franz Liszt (1811-1886) – guided listeners to the vibrant cities on the Mediterranean coast.
Belonging to the Romantic school, Liszt used music to capture intense emotions before the magnificent beauty of Venice and the lively festive atmosphere of Southern Italy.
The suite consists of three movements. The first movement, Gondoliera, is the melodious song of gondoliers on the waterways of Venice. Luu Hong Quang infused this movement with lyricism and romance.
The melody was smoothly conveyed, evoking the image of a boat gently drifting under the moonlight, immersing the audience in the ancient, poetic beauty of the city of canals. This piece is based on Giovanni Battista Peruchini’s famous Gondoliera, elevated by Liszt’s masterful piano language.
The Canzone movement is a profound, nostalgic folk melody, echoing in the quiet night. This movement provided a necessary pause, showcasing a graceful contrast to the other two movements.
And Tarantella – the passionate traditional dance of Southern Italy. Luu Hong Quang performed this movement with powerful energy, speed, and brilliant technique.
The fast, agile, and passionate note sequences created an exuberant, lively festive atmosphere. This was a testament to the artist’s talent, as he controlled the emotional chaos while maintaining clarity and sharpness in every note.
With Liszt, “water” was no longer a philosophical symbol but a vibrant backdrop, a source of strong emotions, from profound romance to explosive passion.
The final and also the pinnacle of the recital was Franz Schubert’s (1797-1828) Sonata in B-flat Major, D.960. This is not just a masterpiece but also the great composer’s “musical testament,” completed only weeks before his death at the age of 31.
Luu Hong Quang’s first complete performance of this monumental work before the Vietnamese public gave the program special significance.
If Ravel and Liszt guided listeners to experience external landscapes (oceans, cities), Schubert, through D.960, led everyone deep into the inner world, confronting memories, regrets, and the acceptance of destiny. This is the most challenging work in terms of emotional interpretation.
The Sonata No. 21 consists of four movements. The first movement, Molto moderato, opens with a peaceful, ethereal melody like a “call from heaven,” yet hidden deep within are “the terrifying whispers of death” through sudden quiet passages, foreshadowing tragic fate.
Luu Hong Quang maintained a slow, meditative tempo, creating an ambiguous feeling, caught between tranquility and anxiety.
The second movement, Andante sostenuto, is the most contrasting, opening slowly like a sorrowful dying wish, each sustained note like a final breath, sinking deep into loneliness and despair.
But then, the melody transforms into a “desire for rebirth,” soaring and full of light, like a soul escaping the body. Luu Hong Quang expressed this emotional transition profoundly, making listeners feel the intertwined flow of life and death.
Scherzo: Allegro vivace con delicatezza – Trio is a fleeting glimmer of hope, an innocent memory of youth suddenly rushing back. This is a gentle movement, like a moment of rest before confronting the final movement.
The Allegro ma non troppo – Presto movement concludes explosively – representing Schubert’s “final energy,” using all his music to fight against destiny. Luu Hong Quang poured out all his strength, performing with fierce determination and defiance, before calmly accepting fate and stepping into eternity.
D.960 is not just a work about water in the literal sense, but also “the profound current of the soul” – a philosophical peak, a spiritual connection – that artist Luu Hong Quang wished to convey to his homeland audience.
The Spiritual Essence Of Water recital was not only a synthesis of three musical periods (Classical, Romantic, Impressionistic) but also a testament to Luu Hong Quang’s remarkable growth in performance style.
The audience gave extended applause, not only for Luu Hong Quang’s talent but also for his courage and dedication in bringing such philosophically deep masterpieces as D.960 to Vietnam.
Pianist Luu Hong Quang is a highly trained talent, currently a PhD candidate in piano in New Zealand. He returned to his homeland with deep gratitude expressed through music.
The recital concluded, but the lingering echoes of spiritual flow and the connection between artist and audience remained. The program promises a beautiful and meaningful beginning for a series of high-quality classical music activities in Vietnam, true to VIPCF’s commitment.
Ms. Kim Chi (Hanoi) shared: “This was a truly valuable performance, with classical pieces rendered exquisitely. Artist Luu Hong Quang showed incredible focus and emotion in every moment of his performance.
After his time studying in New Zealand, this return marks a clear step of maturity in his artistry – something that both the audience and his admirers could feel.”
Pianist Luu Hong Quang (35 years old) began playing at age 5, under the guidance of his father, Meritorious Artist Luu Quang Minh. From 1996-2006, he trained at the Vietnam National Academy of Music. In 2006, he received a full scholarship to the Australian International Conservatorium of Music, mentored by Professor Kyung Hee Lee.
Luu Hong Quang has received numerous awards both domestically and internationally. He has performed with renowned orchestras worldwide, including the Queensland Symphony Orchestra (Australia), the Royal Philharmonic Concert Orchestra (UK), orchestras from Florence (Italy), and the Szolnok Symphony Orchestra (Hungary). Recently, he has held solo concert programs in New Zealand, Australia, China, Hungary, and Austria.
Annually, Luu Hong Quang often returns to his homeland to participate in regular concert projects. He was once invited by his teacher – artist Dang Thai Son – to perform a duet in the program Dang Thai Son in the New Sound of the 20th Century.
Source link: https://dantri.com.vn/giai-tri/nghe-si-luu-hong-quang-doc-tau-3-ban-nhac-kinh-dien-20251109094356378.htm
