In the world of arts, anticipation often builds as the premiere of a monumental work approaches. This excitement was palpable among the members of the Hong Kong Sinfonietta, as they rehearsed diligently for the world premiere of a piano concerto composed by the talented Charles Kwong. However, an unforeseen adversary loomed large on the horizon – the impending Super Typhoon Saola.
The concerto, a remarkable 20-minute single-movement composition, was a commission by the Hong Kong Sinfonietta during Kwong’s tenure as their “artist associate” from 2020 to 2022. It was a long-anticipated debut, initially slated for 2021 but delayed due to pandemic-related restrictions on public performances.
Adding to the weight of anticipation, Kwong had recently taken to social media, inviting peers to attend what was set to be his final concert in Hong Kong. He, along with his wife Sharon Chan, co-founder of the innovative Project21st, were set to embark on a research sojourn at the Zurich University of the Arts in Switzerland.
As the week progressed, the chances of the concert materializing started to dwindle. Typhoon tracking indicated a potential direct impact on Hong Kong. Yet, uncertainty prevailed, leaving the artists in a precarious state of hope.
On the fated day of the rehearsal, the sky above Hong Kong City Hall Concert Hall remained clear, with only a mild typhoon warning. No official word had been given about the possibility of a heightened storm alert coinciding with the concert’s scheduled time.
Kwong, reflecting on previous concert disruptions in 2019 due to political unrest, commented with a surprising dose of optimism, “There is still a chance the concert will happen.” He recalled how, even though many events between 2020 and 2022 were cancelled due to the pandemic, there was at least some advance notice.
The guest conductor for the evening, Clemens Schuldt, who was also the designated music director of Canada’s Orchestre symphonique de Québec, was caught off-guard by the situation. Fresh from a recent arrival specifically for this concert, Schuldt expressed, “This is my first typhoon. Right now, all I can focus on is perfecting the music.”
Piano soloist Colleen Lee, known as one of Hong Kong’s premier talents, mirrored Schuldt’s sentiments. Having immersed herself in mastering Kwong’s demanding concerto, she philosophically remarked, “It’s all up to the sky.”
Once the rehearsal commenced, an uncanny resonance between the music and the external world was apparent. Kwong’s intention behind the concerto was to depict the collision and cohesion of two worlds. As the orchestra’s violins heightened the tension, and the percussion thundered, the correlation with the impending storm was unmistakable.
The eventual news of the government postponing the new school term was a telltale sign of the concert’s fate. Later, Kwong would confirm the inevitable cancellation on social media.
Yet, in a heartwarming gesture, Schuldt proposed, “I don’t know if there’s going to be a concert. But let’s make a recording of us playing, for Charles.” Even in the shadow of the looming typhoon, the spirit of art and camaraderie shone brightly, echoing the timeless adage – the show must go on.
READ MORE: