Phantom pianist of the ballet

Nobody pays attention to the pianist but without the ballet accompanist, dance practice or a ballet performance would be incomplete, Chong Wai Sum tells VIMALA SENEVIRATNE

BALLET accompanist Chong Wai Sum is dedicated to not only bringing alive music that runs the gamut of emotions and musical styles from classical to contemporary but also to introducing young pianists to this often forgotten career option.

“We are probably the unsung heroes of ballet as we play the piano in ballet classes and not on stage,” says Chong, a full-time dance pianist or ballet accompanist for vocational classes at the Elmhurst School for Dance, a specialist dance school in Birmingham, England.

It’s an art, she adds, to be a good ballet accompanist. It requires a great deal of experience, flexibility and a special ability to sense movement musically.

“You must have the technical skills of a pianist and know and understand the world of ballet and the French terminology that goes with the territory. You also need to have a good memory and be able to improvise when the need arises.

“Our role is to complement the dancer so you have to know the dancer’s physical ability.” It may sound like a tall order for many but for Chong, 31, it’s her life. “I think this is what I was born for,” she says.

Back in Petaling Jaya on holiday, she will give a talk on Working As A Dance Pianist at the University College Sedaya International early next month.

“Most youngsters with the necessary piano skills often end up as piano teachers or concert pianists. Not many are aware that there are other avenues available. In fact, there is a shortage of dance pianists in Britain as well as here.”

When she started piano lessons at the age of five, she found she had a natural aptitude for music. She learned to play the violin too but gave it up very quickly.

“Violin wasn’t meant for me and I suspect my teachers shed tears of joy when I gave it up to concentrate on the piano.”

She can play by ear. “Whenever I hear a good piece, a catchy tune, I would immediately play it on the piano and improvise on it. It’s a fun way of learning,” says Chong, who initially played the piano as a hobby. “I went through all the exams, techniques and such but it was only in my late teens that I seriously considered making it a career.”

Her passion is obvious as I watch her fingers fly over the ivory keys of the grand piano in the living room of her parents’ house, playing her own interpretation of some of the best-loved dance repertoires.

Soon after her A-level examination in 1995, she auditioned for and was accepted by the Royal Scottish Academy Of Music And Drama (RSAMD) to do a Bachelor of Music course. It was here that she discovered the world of ballet accompanist or dance pianist.

“It was an eye-opener. As an accompanist you get to work with some of the finest professionals – dancers, musicians, composers,” she says.

“You have to be sensitive, flexible and supportive of the needs of whoever you are working with. You work in unison. The challenge is in being able to deliver what they want. Along the way, you also get to learn from them and they learn from you as well. It’s an enriching two-way learning process.”

Upon graduation, she took on jobs that allowed her to polish her skills. She worked as an accompanist and piano teacher at the RSAMD and moved to the Purcell School of Music as a practice supervisor, house tutor and freelance accompanist. There she taught students aural skills, music theory, sight-reading and chamber music. She returned to RSAMD and earned her Master of Music (piano ensemble performance) in 2001 and, after working as an accompanist with the Scottish Ballet, she gained a postgraduate diploma with distinction from the RSAMD as a pianist for dance last year.

While she was at the RSAMD she won several piano accompaniment prizes. She also represented the Academy in performances at the Bute House in Edinburgh for the then Scottish First Minister Jack McConnell and his wife and had also performed at Holyrood Palace.

Together with flautist Emma Wilkins and soprano Shuna Sendall, Chong performs regularly as a chamber music trio called Ecoute at the Hertford Music Festival and the Edinburgh Fringe Festival.

They entertain audiences with their mix of talent and personality, not only premiere new works by young composers but also a wide range of repertoire for flute, voice and piano. They also arrange old favourites to suit the various taste – from opera to folk and jazz numbers. Chong has accompanied the Scottish Ballet, Birmingham Royal Ballet, Aberdeen International Youth Festival Dance School, The Purcell School as well as Ardingly College’s Summer Music Summer School.

She often attends live concerts to watch other performers. “It’s entertainment as well as a learning process. You watch, you study what they do and if need be, try to incorporate that into your own work.”

She tours regularly for the Scottish Council For Music In Hospitals and Lost Chord (South Yorkshire) to bring live music to nursing homes, hospitals and hospices.

Her work can be demanding but Chong enjoys every minute. “Most of time you are practicing, sharpening you skills and always on your toes. But right now I enjoy that adrenaline rush, savouring every moment,” she adds, smiling.

Chong’s two-hour talk is on Aug 1 from 10am at the Recital Hall, University College Sedaya International, 1 Jalan Menara Gading, UCSI Heights, Cheras, Kuala Lumpur. Admission is free and open to the public.