Accompanist
A graduate of the Royal Scottish Academy of Music and Drama (now the Royal Conservatoire of Scotland), Wai Sum was awarded the Barcapel Foundation Scholarship to study postgraduate chamber music with Philip Jenkins. She subsequently held the post of RSAMD Scholarship Accompanist for two years.
In recognition of her accomplishments, she was awarded the RSAMD’s Piano Accompaniment Prize, the Dunbar Gerber Prize, The Bach Prize and the A Ramsay Calder Prize for Debussy Songs.
She has participated in masterclasses with internationally renowned musicians such as Felicity Lott, Malcolm Martineau, Charles Rosen, Cristina Ortiz, Martino Tirimo, Dominique Merlet. With her piano duo partner Geneviene Wong, she has been invited to perform in concerts at the Dartington International Summer School and St. Martin’s-in-the-Field, London.
Together with soprano Shuna Sendall, Wai Sum founded the chamber music group écoute which made its premiere performance at the 2000 Edinburgh Fringe Festival with music by John Harris, Matthew Brown and Clare Parker. From 2000-2005, écoute toured concert venues and festivals in Scotland and England specialising in repertoire for voice, flute and piano.
A keen proponent of music therapy for dementia and Alzheimer sufferers, Wai Sum also regularly accompanies live concerts in hospitals and nursing homes under the auspices of Music in Hospitals and Lost Chord.
Previous employers include:- The Purcell School
- Ardingly Summer Music Summer School
- Recitals
- Exams
- Auditions and competitions
- Rehearsals
Dear Wai Sum, it was really nice to meet you again at Bute House last Saturday and to hear you on the piano again. You helped create an excellent night and we are very grateful to you once more.
(Scottish First Minister, Chief Executive of Culture & Sport Glasgow)
Wai Sum Chong, the pianist of the trio (écoute) played with lightness of touch, but did not lack for strength when the music so demanded. Her sensitive and flexible accompaniments were very supportive and added an extra dimension to the music....next came a stylish well-pointed and very satisfying account of a flute sonata attributed to Bach.
Wai Sum Chong’s interpretation of the clavier part on the grand piano was masterly. Her delicacy of touch, precision and choice of ornament, and infallible ear for balance, would surely have persuaded the composer of the instrument’s suitability.
...and Messiaen’s Oiseaux Exotiques was never a worry for Wai Sum Chong whose playing was bright and assured