The concert, titled Sweet Sound That Breathes Upon a Bank of Violets, featured violinist Ruda Lee, cellist Jiyoung Choi, and pianist Cindy Ho in a captivating chamber music programme of Chopin and Ravel. Ruda Lee shone in Ravel’s Tzigane with electrifying virtuosity, matched by Cindy Ho’s sparkling piano. Jiyoung Choi’s emotive performance of Chopin’s Cello Sonata, particularly during the Largo, displayed deep sensitivity, while her interplay with Cindy brought out vivid Romantic colours. After intermission, Ravel’s Violin Sonata No. 2 showcased lively jazz elements and precision from Ruda and Cindy. The trio closed with Chopin’s Introduction and Polonaise Brillante, highlighting their synergy and elegance. The ensemble’s blend of technical command and expressive depth promised anticipation for their upcoming January 2026 programme, destined to be a highlight for chamber music enthusiasts.
French harpist Emmanuel Ceysson delivered a dazzling performance of French repertoire, highlighting the harp’s expressive range and his own technical mastery. The concert began with Debussy’s Suite bergamasque, where Ceysson’s harp arrangement illuminated familiar melodies with ethereal harmonics, particularly in Clair de lune. Tournier’s Images, Suite No. 2 showcased his playful textures and brilliant pedal effects, while Caplet’s 2 Divertissements contrasted French elegance with Spanish rhythmic flair.
After intermission, Ceysson’s storytelling shone in Tournier’s Images, Suite No. 4, especially in Bells in the Snow and the energetic Dance of the Moujik. The evening concluded with Fauré’s Impromptu in D-flat Major, exposing both the lyrical and virtuosic sides of the instrument. Ceysson’s engaging presence and thoughtful programming affirmed his place as a leading ambassador of the harp. He delighted the audience with encores from Tournier’s works, leaving a memorable impression.
The Romer String Quartet presented Shimmery Glimpses, a programme blending Debussy’s impressionist works with contemporary Hong Kong compositions, all centred around the moon as a shared cultural symbol.
The concert opened with the world premiere of Eric C. H. Yip’s Shade in Darkness, a piece reflecting the composer’s pandemic experiences. The quartet handled its technical challenges with precision, conveying its tense, introspective mood.
Next was Kai-Young Chan’s À la recherche de la lune (In Search of the Moon), which combined Debussy’s Clair de Lune (arranged for strings) with fragments of the Cantonese lullaby [月光光]. The quartet’s performance highlighted the piece’s nostalgic tone, seamlessly merging Western and Cantonese musical traditions.
The evening closed with Debussy’s String Quartet in G minor, a cornerstone of his chamber music. The quartet captured the work’s shifting textures – from the first movement’s intensity to the Andantino’s delicate harmonics – while maintaining cohesion. The muted exchanges in the third movement were particularly evocative, echoing the concert’s lunar theme.
Shimmery Glimpses successfully bridged French and Cantonese influences, showcasing the Romer Quartet’s versatility and thoughtful programming.
