Symphony for One: Wagner-Liszt, Chopin & Alkan

In the past 3 years, the “Medtner and his Pianism” recitals have showcased the enormous possibility of the piano, often crossed paths with many orchestral ideas. This recital takes the “symphonic” scope to the fullest - it follows a typical structure: an overture, a concertante work, (an “intermezzo”) and a symphony.

Great music transpires through its spirit - be it written for a small ensemble, a large orchestra or a single piano. In a time when recordings are so readily accessible, it is more the important to remind ourselves that music does not merely lie around as a predictable, automatic idea - rather each time a channeling of an active spirit and inspirations, driven by the most profound feelings and thoughts.

Date: Saturday 28 November 2026, 7pm Venue: Pitt St Uniting Church (264 Pitt Street, Sydney NSW 2000)

Full Program

Wagner-Liszt Overture to “Tannhäuser” (Concert Paraphrase by F. Liszt, S. 442)

Frédéric Chopin Andante spianato et Grande polonaise brilliante, op. 22

--Intermezzo-- Beethoven-Alkan Cavatina from String Quartet no. 13 in B-flat, op. 130

Charles-Valentin Alkan Symphony for solo piano (Nos. 4-7 from 12 Études in all minor keys, op. 39)

I. Allegro moderato II. Marche Funèbre. Andantino III. Menuet. Tempo di Menuetto IV. Finale. Presto

Ching Pong (Dono) Ng, Piano

(Program lasts for approx. 65 minutes with no interval)

To be transformed from its initial medium, the music adopts a new life, brought about by, and vigorously furthering, its “original” intent. The ever enchanting “Tannhäuser” Overture came under the hands of a matured Liszt, who aimed to promote the works of his collegue - later son-in-law - with a concert paraphrase of equal magnitude. The Lisztian brilliance and effortless virtuosity of his early days has seen a very fitting and profound use - the intensity and flair transpired could be considered one of the greatest monuments in music history.

In 1831, after a long period of writing, Chopin completed his grand polonaise for piano and orchestra - this would be his last “concertante” work. 3 years later, he provided a “prélude” and subsequently published the works as a set - “Andante Spianato et Grande polonaise brilliante”. It is understood that even without the accompaniment of strings, the horn calls, the grandeur in gesture and spirit remains undiminished.

A “rival” of sort to Liszt and close friend of Chopin (who was also once a neighbor in Paris, and his great admirer), Charles-Valentin Alkan (1813-1888) lived, for much of his creative life, privately - that is not to take away, if not more the admirable, his ingenious pianism. While Liszt completed and performed piano transcriptions of all Beethoven Symphonies, Alkan was a remarkable advocator of late Beethoven - apart from performing the late piano sonatas at a time of their relative obscurity, he also arranged the “Bundeslied” (Song of fellowship), op. 122 and the endearing Cavatina from the late string quartet in B-flat, op. 130 for the piano.

While most of their outputs revolved around the piano, Chopin and Alkan were well aware of orchestral music of the time - the former showed much love towards operas and the “bel canto”; the latter wrote an overture, a 3-movement concerto (with the 1st along clocking at 30 minutes!) and a 4-movement Symphony for solo piano in his Études in all minor keys, employing his incredible imagination for harmonies, textures and colors that poetically transpired the sonority of a full orchestra.