|Chopin||Piano Concerto No 1|
|Rachmaninov||Symphony No 2||60’|
.Seong-Jin Cho’s encore – Chopin –
Ashkenazy and Rachmaninov – need we say more? Few conductors know how to make Rachmaninov’s melodies sing like Ashkenazy does, or have a more intimate understanding of what makes a top pianist tick.
Expect a near-definitive performance of Rachmaninov’s most romantic symphony, and the finest possible introduction to the winner of this year’s International Fryderyk Chopin Piano Competition.
About the winner:
Born on 28 May 1994, in Seoul, Seong-Jin Cho is a student of Michel Beroff at the Paris Conservatoire. He has won the International Fryderyk Chopin Competition for Young Pianists (2008) and a piano competition in Hamamatsu, Japan (2009), as well as Third Prize in the Pyotr Tchaikovsky Competition in Russia (2011) and the Arthur Rubinstein in Tel Aviv (2014). He has performed in concert with the Mariinsky Theatre Symphony Orchestra (cond. Valery Gergiev), the French Radio, Czech, Seoul (all with Myung-Whun Chung), Munich (cond. Lorin Maazel) and Ural (cond. Dmitry Liss) philharmonic orchestras, Berlin Radio Orchestra (cond. Marek Janowski), Russian National Orchestra (cond. Mikhail Pletnev) and Basel Symphony Orchestra (cond. Pletnev). He has toured Japan, Germany, France, Russia, Poland, Israel, China and the US. He has appeared at the Tokyo Opera, in Osaka, at the Moscow Conservatory and at the Mariinsky Theatre in St Petersburg, including with recitals. He has participated in numerous European festivals, including in St Petersburg, Moscow, Duszniki-Zdrój and Cracow, as well as festivals in New York and Castleton. As a chamber musician, he has been invited to work with the outstanding violinist Kyung Wha Chung. He is the winner of the 17th International Fryderyk Chopin Piano Competition (2015).
We’ll find out which Chopin piano concerto will be performed after the competition finals in October 2015.
Review by Robert Gainer, BachTrack:
Click here for full review:
… “The Philharmonia was on top form having already performed Jean Sibelius’ Valse Triste to open the programme. Ashkenazy, wearing his trademark white polo-neck sweater, coaxed a barely audible, yet tremendously solid, pianissimo from the strings at the beginning, then danced with the dynamics in a serene sway. Translated as ‘Sad Waltz’, this is a work that is bitter-sweet and melancholic in its portrayal of the inevitability of mortal fate than simply sad. Ashkenazy conveyed this distinction brilliantly through his deft musical shaping, and the sound quality of the string and woodwind sections of the Philharmonia was both sensuous and faultless.
They continued in the same manner in opening and accompanying Cho in the Chopin. The Allegro maestoso was exact, never forced or pompous. Cho has an enviable ability to make every note sound distinct and clear, shaping and balancing each phrase perfectly. After only about a minute of his performance I stopped analysing, closed my eyes and lost myself completely in the sheer musicality of the moment. Things only got better in the Romanze: Larghetto, with lyrical reflections seemingly glistening from the black gloss of the concert grand as Cho superbly demonstrated his understanding of Chopin’s stated intent: “calm and melancholy, giving the impression of a thousand happy memories. It’s a kind of moonlight reverie on a beautiful spring evening.” Cho’s more assertive performance of the Rondo: Vivace brought fresh rigour and colour to the conclusion of the concerto, demonstrating the breadth of his interpretative abilities. […]
[…] Ashkenazy made me feel like I was hearing an old friend in the symphony, but learning all sorts about that friend I never knew before, and his direction of tempi and dynamics was inspirational. He returns to Birmingham Symphony Hall with the Philharmonia to play Rachmaninov’s Third Symphony in March next year, and based on this performance, it should be well worth booking in advance.”