Some very musicianly playing from this nineteen year old pianist that was immediately clear from his very intelligent playing of Mozart’s C minor fantasy. A sense of measure with playing of crystalline clarity and simplicity but also with a great sense of drama . Some very expressive, deeply felt playing of mature musicianship that was beautifully shaped but with a real sense of style. His well oiled fingers allowed him to play the stormier passages with great control and authority and his sense of architectural shape gave poignant meaning to this improvised masterpiece of Mozart.

There was a crystalline clarity also to his Scarlatti playing of rhythmic energy and character. Ornaments that sprang from his fingers like tightly wound springs but were part of the beautiful shape and slight musical hesitancy that brought this jewel vividly to life.

A good flowing tempo from the beginning of the Chopin Fantasy where the melodic line was allowed to sing with a beautiful legato and inner colours very discreetly underlined. The improvisatory arpeggios were allowed to unwind with poetic fantasy as they gradually lead to the passionate outburst of melodic effusion and octaves that were played with masterly control and passionate brilliance. A very atmospheric diminuendo for the entry into the central episode that was played with simplicity and beauty with a very telling rubato that allowed the music to speak so poignantly. Chopin’s final pedal effect was judged to perfection before a golden web of arpeggios brought this very original work to an ending of aristocratic nobility.

Rachmaninov was played with great sensitivity and a melodic outpouring of glowing purity. As the tension rose there were sumptuous sounds and remarkable technical control as he shaped this Etude- Tableau with knowing poetic understanding .

Schubert too was played with crystalline clarity but with a very expressive melodic line always beautifully phrased .There was a remarkable sense of balance as the passionate central episode was allowed to unfold with simplicity and deeply felt expression.

The early Debussy ‘Pour le piano’ was ideally suited to this young man’s crystalline technical mastery and passionate conviction. The Prelude was allowed to unwind with a poetic shape as it built to the brilliant climax of glissandi and great declamations . There was also a kaleidoscope of sounds as high notes of chiselled beauty were spun over a shimmering agitated accompaniment as the Prelude built to a final triumphant ending. The Sarabande was played with great style and beauty as he created a magic atmosphere with poetic colouring and expressive pedalling. The Toccata was played with masterly control and brilliance.Splashes of colour swept across the keyboard as the tenor melody was heard with insinuating poetic insistence. A passionate outpouring of sumptuous sounds, played with passionate commitment but always with masterly control.

Born in 2006, Enoch Wong studied with Christina Kwok (2014-2020) in Hong Kong. After moving to the UK, he is based in Bristol and studying with Robin Green (since 2021) both privately and at the junior conservatoire of Royal Welsh College of Music and Drama. He has received additional coaching from various pianists such as Julian Jacobson, Prach Boondiskulchok and Ronan O’Hora as well as chamber musicians such as Krysia Osostowitcz, Catherine Manson, Helena Winkelman, Christoph Richter, Robin Ireland, Marie Bitlloch and Ursula Smith. 

Enoch is a passionate pianist with a strong love for Haydn, Beethoven, and chamber music. He has gained invaluable chamber music experiences at courses like Music Works and Music Embodied. He made his concerto debut with the orchestra of the junior conservatoire of Royal Welsh College of Music and Drama, performing Rachmaninoff 2, as a result of winning the junior concerto competition at the college.