Programme: Hungarian Piano Quintet
Updated: 5 days ago
Repertoire
DOHNANYI
Piano Quintet No.2 in E-flat minor Op.26
I. Allegro non troppo
II. Intermezzo: Allegretto
III. Moderato
– 15 minutes intermission –
BARTOK
Piano Quintet in C major, Sz.23
I. Andante – Allegro molto
II. Vivace (Scherzando)
III. Adagio
IV. Vivace
Prof. Albert Tiu, Piano
Called “an artist of uncommon abilities” by American Record Guide, Albert Tiu is known for his innovative programming, praised for thought‑provoking thematic recitals such as “Chopin: Before & Beyond” and “Bee Flat”. As soloist, he has performed with the St. Petersburg Philharmonic, Hamburg Symphony, Finnish Radio Symphony, Calgary Philharmonic, Winnipeg Symphony, Singapore Symphony, and Philippine Philharmonic. In 2005, he gave the Singapore premiere of Samuel Barber’s Piano Concerto with the Singapore Symphony Orchestra.
His recordings include Grand Russian (Centaur Records), pairing Tchaikovsky’s Grand Sonata and Rachmaninov’s 1st Sonata, and The Classical Elements, a recital themed around Earth, Air, Water, and Fire, both highly acclaimed internationally.
Albert is Head of Piano Studies at the Yong Siew Toh Conservatory of Music, National University of Singapore, holding the Madeline Goh Professorship in Piano. Born in Cebu, Philippines, he is a recipient of Juilliard’s William Petschek Award and a prizewinner of competitions in Pretoria (UNISA), Calgary (Honens), Helsinki (Maj Lind), and Santander (Paloma O’Shea). In 2025, he was appointed Artistic Director of the Singapore International Piano Festival.
Prof. Qian Zhou, Violin
Chinese‑born American violinist Qian Zhou is recognized internationally as a world‑class violinist, recording artist, and teacher. After winning the First Grand Prize and all five major prizes at the Marguerite Long–Jacques Thibaud Competition in 1987, she performed extensively across North America, Europe, Asia, and Africa with orchestras such as the Baltimore Symphony, BBC Symphony, Radio France Philharmonic, New Japan Philharmonic, and Russian Philharmonic. Critics have described her artistry as “an inspired force, accompanied by technical polish, communicative capacity, and an expressive candor that was absolutely enchanting.”
Her ten recordings on Naxos, Hugo, and Hungaroton span repertoire from Bach to Bartók, earning praise of the highest calibre.
Zhou is the founding Head of Strings at the Yong Siew Toh Conservatory of Music, where her past students hold active positions in the profession, performing and teaching throughout the world. She also serves as Chair of the Artist Committee and Jury of the Singapore International Violin Competition, and as Artistic Director of the Singapore Violin Festival. A Thomastik-Infeld Artist (Jargar & PI Strings), Qian Zhou plays a 1757 J.B. Guadagnini generously loaned by the late Mr. and Mrs. Rin Kei Mei.
Chen Yun Li, Violin
Born in 2006 in Taichung, Taiwan, Chen Yun‑Li began violin studies at age four under Ms. Liu Yi‑Liang. He is currently studying at the Yong Siew Toh Conservatory of Music in Singapore under Professor Qian Zhou, having previously trained with Ms. Liao Wei‑Chun and Mr. Tsai Cheng‑Han. He has also received guidance from Su Hsien‑Ta, Chiao Chia‑Hsuan, Olivier Charlier, Lin Pin‑Ren, and Chen Chin‑Hung.
At age 13, Chen gave his first solo recital. In 2023, he was admitted to the Yong Siew Toh Conservatory, Manhattan School of Music, and Taipei National University of the Arts. In 2025, he participated in the Taipei Music Academy and Festival (TMAF).
Zou Zhang, Viola
Born in Chengdu, China in 2002, Zou Zhang began violin studies at age five. He attended the Affiliated Middle School of Sichuan Conservatory of Music under Professor Li Kaixiang, and later completed both bachelor’s and master’s degrees under Professor Qian Zhou at Yong Siew Toh Conservatory of Music.
He performed with the Sichuan Conservatory Symphony Orchestra and conductor Mark Gibson at ages 11 and 12, and has appeared as soloist with the Sichuan Philharmonic Orchestra and NPVC Orchestra. He was invited to perform at the Keshet Eilon Music Festival gala concert and collaborated with pianist Eliso Virsaladze in Schumann’s Piano Quintet. Since August 2024, he has served as teaching assistant to Professor Qian Zhou at Yong Siew Toh Conservatory.
Competitions he has won include third prize of Euroasia Intentional Competition in 2020, second prize in violin category of Yong Siew Toh Concerto Competition in 2023, first prize of Euroasia Intentional Competition in 2023, second prize of Singapore National Piano and Violin Competition in 2023, finalist in Vienna Classic Violin Olympus International Competition in 2024, finalist in Weinberg Violin Competition in 2024, fourth prize of International Rudolf Lipizer Violin Competition in 2025.
Wang Zihao, Cello
Wang Zihao started his career as a cellist with the Singapore Symphony Orchestra in 2015. In 2022, Zihao was appointed as guest cellist of the Singapore International Violin Competition, where he shared stage with pianist Albert Tiu and violist Miguel de Silva. Based in Singapore, Zihao has given many successful solo and chamber concerts in Singapore, Europe and China. The concert halls he has performed include the Philharmonie Berlin, Frauenkirche Dresden, National Center for the Performing Arts of China. Victoria Concert Hall and Esplanade Concert Hall, among many others.
As a chamber musician, Zihao was invited to join the T’ang quartet, one of the most distinguished professional string quartet group in Southeast Asia.
Currently, Zihao is the teaching assistant of professor Qin Li-Wei, at the Yong Siew Toh Conservatory of Music. He is also a faculty member at the School of Young Talent, Nanyang Academy of Fine Arts.
Ernő Dohnányi’s Piano Quintet No. 2 in E-flat minor, Op. 26
Written in 1914, Dohnányi's Piano Quintet No. 2 is one of his finest chamber works, compressing late Romantic richness into a tightly unified three movement design. Scored for piano, two violins, viola, and cello, it creates a dense yet remarkably transparent texture, allowing the piano to alternate between driving force and subtle partner. The work traces a compelling journey from the shadowed world of E-flat minor to a radiant E-flat major conclusion, revealing Dohnányi's mastery of organic musical architecture.
The first movement, Allegro non troppo, opens almost in a whisper as the strings introduce a mysterious theme over the piano's soft triplet accompaniment. From this restrained beginning, the music gradually gathers intensity, and a second, more lyrical theme provides welcome contrast to the restless opening material. Throughout the sonata-form movement, Dohnányi develops both ideas with sophisticated counterpoint and chromatic harmony, while a tiny semitone interval introduced at the beginning quietly becomes the musical seed from which much of the entire work grows.
The second movement, Intermezzo (Allegretto), brings elegance rather than simple relaxation. Its opening, first sung by the viola before passing to the violin, has the graceful charm of a late Viennese waltz. Instead of following a conventional scherzo-trio design, Dohnányi carries the melody through a series of imaginative variation-like episodes, even recalling the contemplative second theme from the first movement. Wit, warmth, and refined conversation between piano and strings give the movement its distinctive character.
The finale, Moderato – Un poco più mosso – Animato, begins with a somber canon that gradually unfolds into increasingly intricate contrapuntal writing. As the movement gains momentum, earlier ideas return, reinforcing the work's cyclical design. The opening theme is ultimately transformed from minor to major, and the music rises toward a jubilant E-flat major conclusion that brings the emotional journey to a satisfying close.
For listeners, the key to this quintet lies in its contrasts and its remarkable sense of unity. Listen for how the opening semitone interval quietly shapes melodies throughout the work, how the piano and strings exchange roles between accompaniment and leadership, and how familiar themes return transformed across the three movements. Rooted in Brahmsian craftsmanship yet enriched by Hungarian vitality and adventurous harmony, Dohnányi's rarely heard masterpiece rewards attentive listening with both emotional warmth and architectural brilliance.
Béla Bartók’s Piano Quintet in C major, Sz. 23
One of Béla Bartók's most ambitious early works, the Piano Quintet in C major, Sz. 23 was composed between 1903 and 1904, when the young composer was still deeply influenced by Brahms and Liszt. Although Bartók later withdrew the work from publication, the quintet reveals remarkable confidence and symphonic ambition, with the piano taking a commanding role while the strings provide both lyrical warmth and rhythmic drive. Lasting around forty minutes, it unfolds across four connected movements with almost orchestral richness, offering a fascinating glimpse of Bartók before his mature synthesis of Hungarian folk music and modernism fully emerged.
The first movement, Andante – Allegro, begins with a broad, sweeping motto theme that immediately establishes the work's grand late Romantic character. As the music gathers momentum, the piano launches into virtuosic passages while the strings weave expressive counterpoint, balancing brilliance with lyricism. A tender second theme provides contrast before the development intensifies the drama through chromatic harmonies and energetic rhythmic interplay. The movement returns with renewed confidence, concluding with an emphatic and triumphant coda.
The second movement, Vivace (Scherzando), bursts into playful energy with sparkling exchanges between piano and strings. Its lively rhythms and dance-like character already reveal Bartók's growing fascination with Hungarian folk music, while the trio introduces a lyrical contrast based on a traditional Magyar melody before the exuberant scherzo returns with renewed vigour.
The third movement, Adagio, forms the emotional heart of the quintet. A transformed version of the opening theme unfolds into long, expressive string lines supported by atmospheric piano writing, creating a deeply contemplative and nocturnal atmosphere. Its lyrical intensity foreshadows the haunting slow movements that would become a hallmark of Bartók's later chamber music.
The finale, Poco a poco più vivace, brings the work to a thrilling conclusion. Earlier themes reappear throughout the movement, giving the quintet a compelling cyclical unity inspired by Liszt's approach to musical architecture. Brilliant piano passagework combines with driving rhythms and soaring string melodies as the music builds toward a grand climax, ending triumphantly in C major.
For audiences, the quintet is best appreciated as Bartók's youthful masterpiece: a work firmly rooted in the Romantic tradition while already revealing the rhythmic vitality, structural boldness, and expressive intensity that would define one of the twentieth century's greatest composers. Listening for the piano's symphonic role, the recurring themes across the movements, and the early echoes of Hungarian dance rhythms offers a rewarding glimpse into the emergence of Bartók's distinctive musical voice.
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Penang Philharmonic @ Homestead (WOU)
Wawasan Open University 54, Jalan Sultan Ahmad Shah, George Town, 10050, Penang, Malaysia
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