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Chang-Yong Shin|Beethoven, Liszt & Chopin: Piano Works

Beethoven, Liszt & Chopin: Piano Works

Chang-Yong Shin

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Korean pianist Changyong Shin, partly trained in the U.S., has been much talked about. He has a lot of pure pianistic charisma with a kind of impetuous quality, which surely commended him, despite his youth, to the talent scouts of the Steinway & Sons label. He's not afraid to offer original interpretations. Most pianists wait until later in their careers to take on Beethoven's late piano sonatas, but not Shin, who has already recorded a couple of them. The Piano Sonata No. 30 in E major, Op. 109, usually closes out a program, but here Shin plays it right at the start, as if to emphasize its proto-Romantic qualities. Certainly it is a profoundly virtuosic piece, and you get the feeling that Liszt, who played his share of late Beethoven and who is also represented on the program by the Bénédiction de Dieu dans le solitude, would have enjoyed Shin's reading, even if the deep architecture of the finale gets lost at times here. Sample the opening movement, which has an almost improvisatory feeling unlike almost any other recording of the work (Artur Schnabel may come to mind). The Chopin waltzes that close the show are also irregular in rhythm and demand your attention even if you might wish for a few conventionally lyrical passages. Beautifully recorded at Steinway Hall, this release, once again, serves notice that Shin is a young pianist to watch, and to hear.

© TiVo

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Beethoven, Liszt & Chopin: Piano Works

Chang-Yong Shin

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Sonata No. 30 in E major, Op. 109 (Ludwig van Beethoven)

1
Piano Sonata No. 30 in E Major, Op. 109: I. Vivace ma non troppo, sempre legato - Adagio espressivo
00:03:50

Ludwig van Beethoven, Composer - Chang-Yong Shin, Artist, MainArtist

(C) 2019 Steinway and Sons (P) 2019 Steinway and Sons

2
Piano Sonata No. 30 in E Major, Op. 109: II. Prestissimo
00:02:25

Ludwig van Beethoven, Composer - Chang-Yong Shin, Artist, MainArtist

(C) 2019 Steinway and Sons (P) 2019 Steinway and Sons

3
Piano Sonata No. 30 in E Major, Op. 109: III. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
00:13:17

Ludwig van Beethoven, Composer - Chang-Yong Shin, Artist, MainArtist

(C) 2019 Steinway and Sons (P) 2019 Steinway and Sons

Bénédiction de Dieu dans la solitude, S 173 No. 3 (Franz Liszt)

4
Harmonies poétiques et religieuses, S. 173: No. 3, Bénédiction de Dieu dans la solitude
00:17:01

Franz Liszt, Composer - Chang-Yong Shin, Artist, MainArtist

(C) 2019 Steinway and Sons (P) 2019 Steinway and Sons

Waltz in E flat major, Op. 18 "Grande valse brillante" (Frédéric Chopin)

5
Grande valse brillante in E-Flat Major, Op. 18
00:05:42

Frederic Chopin, Composer - Chang-Yong Shin, Artist, MainArtist

(C) 2019 Steinway and Sons (P) 2019 Steinway and Sons

Waltz in A flat major, Op. 34 No. 1 "Valse brillante" (Frédéric Chopin)

6
Waltz in A-Flat Major, Op. 34 No. 1
00:05:28

Frederic Chopin, Composer - Chang-Yong Shin, Artist, MainArtist

(C) 2019 Steinway and Sons (P) 2019 Steinway and Sons

Waltz in A flat major, Op. 42 "Grande Valse" (Frédéric Chopin)

7
Waltz in A-Flat Major, Op. 42
00:04:02

Frederic Chopin, Composer - Chang-Yong Shin, Artist, MainArtist

(C) 2019 Steinway and Sons (P) 2019 Steinway and Sons

Albumbeschreibung

Korean pianist Changyong Shin, partly trained in the U.S., has been much talked about. He has a lot of pure pianistic charisma with a kind of impetuous quality, which surely commended him, despite his youth, to the talent scouts of the Steinway & Sons label. He's not afraid to offer original interpretations. Most pianists wait until later in their careers to take on Beethoven's late piano sonatas, but not Shin, who has already recorded a couple of them. The Piano Sonata No. 30 in E major, Op. 109, usually closes out a program, but here Shin plays it right at the start, as if to emphasize its proto-Romantic qualities. Certainly it is a profoundly virtuosic piece, and you get the feeling that Liszt, who played his share of late Beethoven and who is also represented on the program by the Bénédiction de Dieu dans le solitude, would have enjoyed Shin's reading, even if the deep architecture of the finale gets lost at times here. Sample the opening movement, which has an almost improvisatory feeling unlike almost any other recording of the work (Artur Schnabel may come to mind). The Chopin waltzes that close the show are also irregular in rhythm and demand your attention even if you might wish for a few conventionally lyrical passages. Beautifully recorded at Steinway Hall, this release, once again, serves notice that Shin is a young pianist to watch, and to hear.

© TiVo

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