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Solo Piano - Released November 17, 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
Since the pianist's early days, the South Korean Seong-Jin Cho (1994) has professed a fondness for French music in general and Debussy in particular. At his first public performance at the age of eleven, he played Children’s Corner by Debussy. When he decided, in 2012, to pursue his musical education abroad, he chose Paris, and the Conservatoire National Supérieur, where he frequented the classes of Michel Béroff, the undisputed expert on Debussy. Cho has come back to work again with his old teacher, who became a friend, with the aim of creating his own Debussy album; the choice of works here is "restricted" to works requiring a middling level of virtuosity - mechanical exhibition isn't his thing, even though he has amply mastered his instrument - but whose poetical content allows the pianist to show off his own exquisite expertise as a musician. An homage to his own childhood, Children’s Corner, but also the two books of Images and the exquisite Suite bergamasque. Let’s not forget that Seong-Jin Cho won Warsaw's 2015 Chopin Prize, a sure-fire ticket to an international career. © SM/Qobuz
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Solo Piano - Released November 17, 2017 | Deutsche Grammophon (DG)

Booklet Distinctions 5 étoiles de Classica
Youthful Korean pianist Seong-Jin Cho seized the spotlight with a hard-fought win in the 2015 International Chopin Piano Competition and was promptly signed to Deutsche Grammophon. He is of the technician genus that often takes home contest prizes, but this is not a bad thing in a perhaps over-individualistic age. He is emerging as a specialist in French music (it is said that he undertook a crash immersion course in Impressionism in the museums of Paris while studying there), but perhaps he might be compared to Wilhelm Kempff or Rudolf Serkin. He stays out of the music's way, and this may be to his advantage in Debussy, where so many pianists tip the scale toward either the poetic quality or toward the virtuoso content. Cho does neither. His playing is flawless; you might say it had a steely perfection if it weren't so understated. If nothing seems to be happening, give it a minute, and Debussy's labyrinths themselves will draw you in. You might wish for a bit more humor in the Children's Corner and especially for more ecstasy in L'isle joyeuse, but the two sets of Images are dense with detail. Perhaps best of all is the Suite bergamasque, where understatement is part of the explicit point: sample here, and you may find yourself a Cho convert. He gets excellent support from Deutsche Grammophon's clean Siemens studio engineering. Where Cho goes next is not yet clear, but one's curiosity is roused.
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Classical - Released November 16, 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet
After winning the First Prize at the 2015 International Chopin Piano Competition, Korean pianist Seong-Jin Cho (born in 1994) embarked on a bright global career that has already taken him absolutely everywhere! Following his first three albums, with two devoted to Chopin (obviously…), a third to Debussy (slightly more unusual), he now dives into Mozart, in particular the Concerto in D minor that has already earned him a Third Prize at the 2011 International Tchaikovsky Competition. In fact, the pianist explains how Mozart was his favourite as a child, and proves it with great finesse in this recording. In accompanied Yannick Nézet-Séguin – a master at accompaniment for opera and concerts – Cho has found an excellent partner. It is worth noting the pianist has opted for the cadences composed by Beethoven. His album also features two Mozart sonatas, both in major keys strongly contrasting with the dark and theatrical concerto. Once again the pianist puts emphasis on clarity and the sung line, rather than sheer virtuosity – however, virtuosity is still apparent despite Mozart’s sonatas not exactly being monsters of fingering mechanics. The album ends withFantasia No. 3 in D minor, one of his most famous pieces even though it is only a fragment of a movement (it was either unfinished or the ending was lost). The ten concluding measures were added by an editor. © SM/Qobuz
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Classical - Released November 16, 2018 | Deutsche Grammophon (DG)

Booklet
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Classical - Released October 12, 2018 | Deutsche Grammophon (DG)