Pianist Christopher Janwong McKiggan holds solo recital at the CCP

February 10, 2015, 7:30 PM

Tanghalang Aurelio Tolentino (CCP Little Theater)

Cultural Center of the Philippines

CCP Complex

Pasay, Metro Manila

Featuring:

Christopher Janwong McKiggan, piano

Programme:

Johannes Brahms

     Piano Sonata No. 2 in F sharp minor, Op.2

Narong Prangcharoen

     Three Minds

Ludwig van Beethoven

     Piano Sonata No. 31 in A flat major, Op.110

Robert Beaser

     Pag-Rag

Karim Al-Zand

     Paganini Reverie

Igor Stravinsky/Guido Agosti

     Firebird Suite

The Cultural Center of the Philippines and KMP Artists proudly present classical pianist Christopher Janwong McKiggan in one night concert this February 10, 2015, 7:30 PM at the Cultural Center of the Philippines’ Tanghalang Aurelio Tolentino (CCP Little Theater).

Born in Christchurch, England, Christopher began his piano studies at age six with his father. He moved to Thailand at age seven, residing with his father, British, and mother, a Thai citizen of Chinese heritage. He graduated Magna Cum Laude from the University of Missouri-Kansas City as a Bachelor of Music studying under Dr. Robert Weirich, a Master’s Degree from Rice University is currently there as a Doctoral of Musical Arts Piano Performance under Prof. Jon Kimura Parker.

The program for the night includes standard piano repertoire fare like Johannes Brahms’ Piano Sonata No. 2 in F sharp minor, Op.2, Ludwig van Beethoven’s Piano Sonata No. 31 in A flat major, Op.110, and Igor Stravinsky/Guido Agosti’s Firebird Suite. But what interests me more are the contemporary works to be played like Narong Prangcharoen’s Three Minds, Robert Beaser’s Pag Rag, and Karim Al-Zand’s Paganini Reverie.

Prancharoen’s Three Minds consists of three short pieces intended to describe different states of mind, how the mind affect a person’s life, and how the mind connects to sound or music and respond with it through emotion. Beaser’s Pag-Rag is Niccolò Paganini’s insanely popular Caprice No. 24 imbedded in ragtime music. Al-Zand’s Paganini Reverie takes a different approach as it was inspired by an evocative passage in Heinrich Heine‘s Florentine Nights which narrates a Paganini concert in vivid detail. Both of these pieces are included in Christopher’s CD Paganimania which will be available at the concert.

Like what I’ve said above, it’s the contemporary works in this concert that really piques my interest. And in my quest to sate this curiosity as Christopher’s concert draws near, I asked him a few questions regarding his views about contemporary music which is an exclusive in this blog.

Pianist Christopher Janwong McKiggan

You are heavily involved with contemporary music. What do you think are 21^st century piano works that will be part of the standard repertoire?

While there are a multitude of works being composed right now, several works that were composed over the past 30 or so years seem to come to mind straight away when talking about pieces that could stand the test of time. Firstly is Augusta Read Thomas's Traces for solo piano. Composed in 2005 for the Montalvo Festival, it is a very varied and virtusoic work that has a wide breadth of colors and sounds. Secondly, is Robert Beaser's Piano Concerto. This is a stunningly beautiful work that I have kept in my repertoire for several years now. It certainly is the pinnacle of music in the New Tonality style. Wonderful construction, stunning harmonies and beautiful melodies also make it an audience favourite.

And in what direction will contemporary works take the music landscape in the foreseeable future?

All music was contemporary at some point whether it be Beethoven, Bach, Bartok, Ligeti, Chen Yi, or Gesualdo. There was a time when their music was considered contemporary. It is a question that I do not have an answer to. All I believe is that great music will prevail. A lot of people will argue as to what type of music is the "Future" of music, but I do not view music like this. Regardless of genre, a great piece of music is a great piece of music. As to what I see happening. However, to answer your question: for the next several decades, I see composers continuing to craft their own unique sound in the music world as most composers are doing now. Beyond that, it is very difficult to make a guess.

Contemporary works are rarely performed in here and it looks like it’s the same everywhere. It’s a risk to program new works and a lot still prefer to hear the same old thing. What do you think can be done to overcome this resistance to new works?

That is always a difficult task. The solution that has been thus far is to program an entire concert of pre 1920s music with maybe one work that is post 1920s. The unfortunate mindset about programming music this way is that Contemporary music becomes a token work. It could be viewed as almost an obligation. The way I program contemporary music is just how I feel It suits a program. Like in my upcoming concert, I have three contemporary works and three classical. All the contemporary works are all of different styles and extremely contrast one another. Personally, I have found this more effective. The audience gets to hear a wider variety of works and their mindset and outlook of the works is that they won't see it as just that "token" work.

We now live in a world where the internet has become an indispensable part of our lives. How can music written either centuries ago or just newly composed survive and flourish in this day and age?

Ah, the million dollar question. If I had that answer I would be rich. But in my opinion, embrace and adapt would be the way. It's slowly happening in the classical world, but slowly. In the internet age things change really fast. But at the same time, the music shouldn't be diluted. The danger that is happening is that the true nature of the music is getting lost. So somehow, we must come up with a way mix the hip and the classical together without losing its identity.

So do you have any word as we count the days leading to your concert here?

It's my first time performing in the Philippines, and I couldn't be more excited! My first piano teacher, Rodel Rivera, is actually from the Philippines and without him as a teacher I wouldn't have found my love for the piano. I look forward to performing there and I truly hope you enjoy the concert!

There you go folks! Special thanks to Christopher for this interview. And see you all at the CCP Little Theater this February 10.

Ticket prices:

P800 Orchestra Center

P600 Orchestra Side

-50% student discount

-20% senior citizen discount

+applicable service charges

For inquiries:

CCP Box Office 832-3704

CCP Performance and Exhibition Department 832-1125 local 1606-1607

TicketWorld 891-9999