#mendelsshon

Ray Chen swept through Hong Kong like a dragon soaring across Asia. That’s not exaggeration, nor is it empty praise.

On July 28, 2025, at 7:30 PM, inside the Hong Kong Concert Hall, his performance with NYO USA during their Asia tour went far beyond collaboration. It was a moment that clearly showed where he stands today.

Still powerful.

Still overwhelming.

But this time, he didn’t lead with those qualities. He stepped back from the spotlight and carefully placed each note. He set aside his dazzling technique for a moment and constructed the music just as a stonemason carefully builds a stone pagoda one stone at a time, like a craftsman. It was the moment when the violin virtuoso reshaped his artistic identity.

He appeared on stage like a storm. Not a destructive one, but a storm that sends shivers through the air.

Before even starting, he already holds the Yeouiju (a mythical orb), the energy that a dragon uses to ascend to the sky.

He completely dominated the concert hall.

First Movement – A Tense, Dramatic Opening with Explosive Energy

Mendelssohn’s Violin Concerto in E minor begins unusually with the soloist entering right away. A bold theme unfolds over rhythmic accompaniment, quickly weaving between passionate tension and lyrical melody.

In this tightly wound structure, Ray Chen delivered refined energy.

His phrasing was sharp yet clear, cutting through the orchestra with force.

Instead of relying on speed and power, he chose space and balance. Every note had room to breathe, and his tone was bright and clean.

The controlled energy felt like a strong, flowing current.

Second Movement – Gentle Cantabile and a Flow of Warm Emotion

The second movement of Mendelssohn’s concerto is lyrical and slow, written in cantabile style. A simple theme begins with the winds, and the violin takes it up as if singing. It’s a movement that flows with calm and warmth over a restrained emotional line.

Here, Ray Chen shifted into a softer tone and fully embraced the lyricism.

Without tipping into sentimentality, he sang the melody warmly and delicately. His dialogue with the orchestra felt natural, like a conversation. In that exchange, his mature musicianship shone through. This movement allowed him to breathe intimately with the audience.

Third Movement – A Lively, Dance-Like Finale

The third movement is a cheerful rondo, with rhythmic and light melodies repeating through rapid shifts in character. The structure is clear and bright, revealing the player’s sense of rhythm and agility.

Ray Chen played with vitality but stayed restrained. He didn’t rush. His rhythms were accurate, his phrasing elegant.

Fast passages sparkled without feeling forced.

He carefully guided the overall flow, creating a climax that was thrilling yet composed.

Thunderous Applause Like a Volcanic Eruption

The moment the performance ended, applause erupted from the audience. It didn’t stop. Chen and the conductor returned to the stage more than five times to bow. After the first encore: Ysaÿe’s Violin Sonata No. 2, Op. 27 “Obsession” (Prelude), the ovation continued. Finally, he offered a second encore: Bach’s Partita No. 3 in E major, also featured on his Solace album.

Even after the final note faded, the clapping went on. At that moment, the hall wasn’t just hot. It was ablaze like molten lava.

The emotion was pure. It was a storm of feeling.

Ysaÿe’s “Obsession,” and the Presence of Ray Chen

The first encore that night was the Prelude from Ysaÿe’s Sonata No. 2, “Obsession.” It borrows from Bach’s Prelude and is inspired by the funeral chant Dies Irae.

A mix of madness, virtuosity, and lyricism, the piece came alive in Chen’s hands. It wasn’t just about technical prowess. It was a fierce negotiation between emotion and structure. He played it not as an ending, but as the beginning of a new story.

The Violin, and a Shift

This summer, Chen changed instruments. He moved on from the 1714 “Dolphin” Stradivarius he’d used for years. Now, he plays a French-style Stradivarius with a warmer tone. It doesn’t yet have a name, but its sound is clear and bold.

The shift changed the texture of his sound, and Chen fine-tuned that change with precision.

Harmony with NYO USA

NYO USA is made up of young musicians from all across the United States. Their playing was full of passion and unity. More than a training ensemble, their role as a cultural diplomacy project became clearer during this tour.

Chen didn’t try to stand out alone.

He breathed together with them and the skilled conductor.

Their chemistry was especially strong in the second movement. Everyone leaned in, completely focused.

The True Winner of the Game Is the One Who Levels Up

Tours can make performances feel routine.

Jet lag, unfamiliar venues, and strange environments are usually obstacles.

But not for Ray Chen.

His phrasing, articulation, and sound had evolved yet again. Most striking of all, he refuses to repeat himself. He continues to evolve. Even the silence between his notes carried music.

That silence was the source of his real power.

He refuses to replicate himself.

RAYCHEN INSTAGRAM

RAYCHEN FACEBOOK

Oleksandr Semchuk, Ksenia Milyavskaya, Katia Ghigi, Marco Gialluca, violini Piero Massa, Annamaria Sullo, viole Giovanni Gnocchi, Alessio Pianelli, violoncelli

9,15 pm Complesso di San Pietro, chiostro piccolo - Gubbio

  Mendelssohn - Veni Domine op.39 n.1

Coro Femminile "Madonna della Consolazione" di Reggio Calabria Direttore, M° Luigi Miriello

    Veni Domine et noli tardare!

Relaxa facinora plebi tuae,

et revoca dispersos in terram tuam.

Excita Domine potentiam tuam,

ut salvos nos facias,

Veni Domine et noli tardare! ______________________________

Come, Lord, and do not delay!

Forgive the wrongdoing of your people,

and bring back the dispersed to your land.

Raise up, Lord, your power

to save us (to cause),

Beethoven Symphonie 3. (Eroica) 1st Movement

İKSV 40. Yıl Müzik festivalinin kapanışını Viyana Oda Orkestrası konseri ile yaptı. Ben de Aya İrini' de geçtiğimiz cuma günü gerçekleşmiş olan bu konserdeydim. Konser repertuvarı Beethoven Leonore Uvertürü, Mendelsshon Mi minör keman konçertosu ve Beethoven 6. Senfoni (Pastoral) idi. Mendelsshon' un keman konçertosunu herzaman çok sevdim. Yine eser başlar başlamaz göz yaşlarıma hakim olamadan dinledim. Ancak ne solisti beğendim ne de repertuvarın kalanını. Bence uluslararası bir festival çerçevesinde konser veriliyorsa, repertuvar daha ilgi çekici olmalı. Örneğin Milos konseri ne kadar güzeldi. Repertuvarının çoğunu bilmememe rağmen konser beni baştan sona hipnotize etmişti.

İKSV' nin bu organizasyonuyla ilgili daha katetmesi gereken pek çok yol olduğuna da inanıyorum ama o başka bir yazının konusu olsun. Herşeye rağmen, ülkemizde sanatın her koluna bu kadar balta vurulurken bu festivalin devam ediyor oluşu da büyük başarıdır bana kalırsa. Gerçi neden olduğunu hala anlayamadığım fuayelerdeki şarap ikramlarına son verilmiş ama neyse, o da başka bir konu olsun.

İyisiyle kötüsüyle 40. festivali de bitirmiş olduk. Darısı 2013 yılının başına. Bu yıl gittiğim konserlerin toplam değerlendirmesini de yine o bahsettiğim diğer yazıda paylaşacağım ancak kısacık bir bilgi olarak şunu söyleyebilirim ki 40. Yıl festivalinin konseri benim için Milos Karadaglic' di. Herkese şiddetle öneriyorum yayınlanmış iki albümünü de edinmelerini.