Jeremy Chan at Steinway Hall for the Keyboard Trust
https://christopheraxworthymusiccommentary.com/2024/11/14/jeremy-chan-at-steinway-hall-for-the-keyboard-trust/

Jeremy Chan at St Olave’s Tower Hill with playing of commanding authority and towering musicianship
https://christopheraxworthymusiccommentary.com/2024/09/19/jeremy-chan-at-st-olaves-tower-hill-with-playing-of-commanding-authority-and-towering-musicianship/

Keyboard at Eight ‘Stars shining brightly at Milton Court ‘ Rose Mclachlan ,Jeremy Chan and Salome Jordania
https://christopheraxworthymusiccommentary.com/2024/02/09/keyboard-at-eight-stars-shining-brightly-at-milton-court-rose-mclachlan-jeremy-chan-and-salome-jordania/

Another fine concert in the Young Artists Series at the Bechstein Hall. Jeremy Chan a young pianist I had first heard in the summer master classes that Angela Hewitt holds in her hometown of Perugia . I later discovered that he had been at school with the daughter of my first cousin, Michael Axworthy who I had become very close to in Rome where his love of music made his cruel journey with pancreatic cancer more acceptable. His wife was Ambassador to the Holy See and they were living in the Eternal City with their four children, Michael being wonderfully looked after in the ‘Pope’s’ hospital Gemelli. (https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://en.wikipedia.org/wiki/Michael_Axworthy&ved=2ahUKEwiyp7XA49mLAxVgYEEAHZeZGb0QFnoECCcQAQ&usg=AOvVaw0YhlvKhH-Yoe3SJDSJ9qIb).Triffy one of his four children with his Ambassador wife studied Japanese in University and is actually pursuing her passion in Japan.

Jeremy after his degree in English Literature at Durham is pursuing his advanced piano studies, and the start of a career in music. Having more time to dedicate to the keyboard his piano playing is fast catching up on his formal intellectual studies .

His learned introductions to the two works he played today were a revelation of poetic intelligence where his formal studies are combining with interpretative skills allowing him to communicate both in words and in music .

Franck’s ‘Prelude Chorale and Fugue’ he described as being in three sections : ‘Gloom and Doubt -Triumph and Glory – combining to produce an ending like no other.’ Words worthy of Cortot .

Words reflected in playing of great weight and nobility, worthy of the resident organist of Saint Clotilde in Paris. Some very sensitive playing and a kaleidoscope of colour gradually allowing the music to take wing as the magical opening returned building with architectural integrity always from the bass. An almost colourless simplicity to the Chorale until the celestial harps brought the vision of beauty of a fervent believer with melodic notes that glowed like jewels. Gradually the passionate intensity increased as passion and power combined with fervent conviction and brilliance, laying spent preparing for the monumental rejoicing of the Holy Trinity.

Rhetorical outbursting glimpses of what was to follow just allowed the simplicity of Franck’s knotty twine to expose the third strand of the genial leit motifs that are to combine to create ‘ an ending like no other ‘ and the transformation of a work into the Glory of God. And what a climax Jeremy produced building the sound with musicianly intelligence but also with youthful passionate energy.

The final chords placed with masterly precision after such improvised reckless brilliance.

Fantasia Baetica was commissioned by Rubinstein who rarely played it as he found it too long, actually not having learned it in time for the proposed Spanish first performance which he gave at a later date in New York.

The composer stated that he was inspired by Rubinstein’s own personality and maybe it was this mirror to the world that the great master was not happy to publicise! He never recorded it either ! But at least it did not receive the ignominious fate of his Stravinsky commission of the ‘Piano Rag Music’ that he refused to play ! Petrushka was the pardon that his great friend was to concede.

It is a work of great effect and as Jeremy said :’Dark,Passionate and very exciting’.Jeremy also told us that he had visited Andalucia and had not realised with what emotion the flamenco rhythms were lived.

He gave a brilliant performance playing with fearless abandon. A piercing shout of joy and suffering as melodies were etched at the octave with extraordinarily evocative sounds.There were beautiful lazy moments of beguiling musings. Streams of glissandi and pungent rhythmic frenzy always building from the bass that gave an overall architectural shape to a work that can so often sound like a collection of separate episodes. Animalistic emotions and technical brilliance living together under one roof!

No encores encouraged as the next pianist needs to practice for the ‘Roast’ concert, this was after all just the ‘hors d’oeuvres’. Can’t wait for the main course after that ………Mussorgsky Pictures from Nikita Lukinov promises to be monumental!

Viva the Bechstein Hall and the platform that they are offering to the great talents of the next generation.