Some time ago that I try to write a comment for this performance, but it contains so many beauties , so many feelings that crowd in my heart and in my head every time I hear it, that in the end I'm speechless, trembling with emotions, and unable to express them. Yeol Eum Son playing Schumann! A whole world, different, unique, as when I hear her Humoresque, fascinated, astonished, irresistibly attracted by her speech, the perfection of her dynamics, multiplied in infinite nuances ... But Yeol Eum Son uses her perfection so we can reach the summit of the ineffable emotions she conveys. Both works are like wonderful stories, and each of its episodes seem little lives, all different, but united by the same feeling. Yeol Eum begins the first with a languid delicacy, quiet and wise, followed by a long, expectant pause ... In the following, fire and calm, the sun and the fog, alternating the joy and pain ... Like in life... My God, Yeol Eum, how can you treasure in your person so much beauty, and express it with such supreme art?
You'll never hear a better performance of this difficult suite -- difficult because its charms are not obvious -- it's deceptively homey quality is full of subtleties only a true artist could evoke with credibility. This live performance is as close to perfection as any human being could hope to get. I am ASTOUNDED at the progress this pianist has made in a few short years. Always a virtuoso her playing used to be drab, colorless, imagnative and matter of fact. NOW she has somehow gotten in touch touch with her inner self, and can project this new sensitivity through the music. Just SUPERB!
Exceptionnel de maturité, sensibilité avec un cantabile et des contrechants inouïes. Rubato magnifique et quelle contrastes rythmiques. La dynamique des nuances est stupéfiante. On sent l'âme de Schumann ambivalent tour à tour Eusebius le calme rêveur décroché du temps, et Florestan l'agité impatient comme pressé..
1. 00:00 "Des Abends" ("In the Evening") in D-flat major 2. 03:16 "Aufschwung" ("Soaring", literally "Upswing") in F minor 3. 06:36 "Warum?" ("Why?") in D-flat major 4. 08:08 "Grillen" ("Whims") in D-flat major 5. 10:51 "In der Nacht" ("In the Night") in F minor 6. 15:02 "Fabel" ("Fable") in C major 7. 17:55 "Traumes Wirren" ("Dream's Confusions") in F major 8. 20:29 "Ende vom Lied" ("End of the Song") in F major
So inspiring. I am trying to learn these pieces now. Before i heard this I wasnt sure if i even liked des abends - now i am converted. Her interpretation of soaring is fabulous.
We throw praise around too much, and than when we really need it, it sounds flat and common. This performance needs new words for praise, the old ones like amazing, genius, passion, and spirit, seem too tarnished to do a proper job. So moving.
It is simply unbelievable how Asian musician can understand German music so good! For example Jazz or folk music can't play so well as their natives owners.
Danger to Yeol's hands and wrists! Yeol's performance is beyond beautiful. She eschews virtuosity for its sake, and balances the pedal points in the left had without making them overly-expressed. This work could not be played more beautifully. I have some concerns over her taking on some of the huge works (like the Prokofiev piano concertos) which can damage the hands and wrists if performed too often. Also, they are not really worth her doing them from an "artistic" standpoint. Much of the Prokofiev genre for piano is just "pounding" for the sake of using the instrument like a huge drum. I realize that she has to do these to "make her career." But just ask Gary Graffman, they can also damage the hands and wrists permanently. Byron Janis also faced damage to his hands and wrists...a magnificent career cut short. Mind you, she plays them beautifully. I just cringe when I see her smashing her hands and doing full glissandi time after time. Yeol is far too great an artist to take that kind of risk. I hope she reads this post. She can perform the Prokofiev concertos, make single recordings of them and just DROP them. Same with the Bartok concertos. Of course she can do them. But they are just not worth it. sanjosemike
Hi, San Jose Mike, I just read your commentary, which I think very interesting! As we both, with many others, cherish the artistry of Mademoiselle Son, I asked myself if you could be right. I was myself a piano teacher in a swiss Conservatoire de Musique, and played piano since I was a little girl, with same indestructible faith and love in Music as Yeol Eum Son, but without her talent! and eventually made my career as mezzosoprano (We could very easily write on same problems concerning the world of singing: voices pushed against vocal folds possibilities, too early heavy repertoire, terrible teachers, stressing rivalries and jealousies...) I heard Mademoiselle Son few weeks ago in a solo program, where she performed unusual repertoire, transcriptions of Viennese Waltzes, rather challenging and virtuoso. Same exquise musicality, variety of colors, modest but radiant attitude. I didn't notice any stuffiness in her playing. But that was no Prokofiev, no Rachmaninov! One thing astounded me: she was wearing horrible stilettos (Yuja Wang's style) and I wondered how one can maintain a right posture playing the piano with such shoes. What do you think about this? I've seen she's coming back to Switzerland for a three Beethoven's Sonatas program, and I'll attend with immense joy. I do hope she will wear lower type of shoes... Best regards, Micaela.
can't say its very good, too soft sometimes (2 piece), time keeping can be better, indeed. I love this play, but I thought on Cliburn competition would much more powerfull play, IMHO. Some VERY good pianist even dont pass to the first round - but this play I cant named better of other good pianists...
Such emotion, musicality & sensitivity, and such an understanding of the music at the age of barely 23. The world is indeed blessed.
She's pure music herself... Every time when I listen to her playing I'm always overwhelming and speechless...
Some time ago that I try to write a comment for this performance, but it contains so many beauties , so many feelings that crowd in my heart and in my head every time I hear it, that in the end I'm speechless, trembling with emotions, and unable to express them.
Yeol Eum Son playing Schumann! A whole world, different, unique, as when I hear her Humoresque, fascinated, astonished, irresistibly attracted by her speech, the perfection of her dynamics, multiplied in infinite nuances ... But Yeol Eum Son uses her perfection so we can reach the summit of the ineffable emotions she conveys. Both works are like wonderful stories, and each of its episodes seem little lives, all different, but united by the same feeling. Yeol Eum begins the first with a languid delicacy, quiet and wise, followed by a long, expectant pause ... In the following, fire and calm, the sun and the fog, alternating the joy and pain ... Like in life...
My God, Yeol Eum, how can you treasure in your person so much beauty, and express it with such supreme art?
She truly is ....all the things u said indeed!! Such beauty💐💐💐💐💐
Played with passion and thoughtfulness. Beauty abounds in this sound world I am delighted to say. Bravo!
I have always admired Schumann's works. Schumann deserves far more credit than given. The way his music spoke like poems has never been matched.
You'll never hear a better performance of this difficult suite -- difficult because its charms are not obvious -- it's deceptively homey quality is full of subtleties only a true artist could evoke with credibility. This live performance is as close to perfection as any human being could hope to get. I am ASTOUNDED at the progress this pianist has made in a few short years. Always a virtuoso her playing used to be drab, colorless, imagnative and matter of fact. NOW she has somehow gotten in touch touch with her inner self, and can project this new sensitivity through the music. Just SUPERB!
Well put, and I share your views..
Hyramess Hiramess uj
Yeoleum Son is the best, the very best !!! Thank you for your absolutely marvelous work!!
Exceptionnel de maturité, sensibilité avec un cantabile et des contrechants inouïes. Rubato magnifique et quelle contrastes rythmiques. La dynamique des nuances est stupéfiante. On sent l'âme de Schumann ambivalent tour à tour Eusebius le calme rêveur décroché du temps, et Florestan l'agité impatient comme pressé..
One of my favorite works of Schumann... Played exquisitely!
Alana Florio You are ravishing ！
beautiful performance--at the very top of interpretations of this great, imaginative, and difficult composition for the piano
1. 00:00 "Des Abends" ("In the Evening") in D-flat major
2. 03:16 "Aufschwung" ("Soaring", literally "Upswing") in F minor
3. 06:36 "Warum?" ("Why?") in D-flat major
4. 08:08 "Grillen" ("Whims") in D-flat major
5. 10:51 "In der Nacht" ("In the Night") in F minor
6. 15:02 "Fabel" ("Fable") in C major
7. 17:55 "Traumes Wirren" ("Dream's Confusions") in F major
8. 20:29 "Ende vom Lied" ("End of the Song") in F major
Your timings are not working.
Thank you so much!
1 0:00
2 3:16
3 6:36
4 8:08
5 10:51
6 15:02
7 17:55
8 20:29
So inspiring. I am trying to learn these pieces now. Before i heard this I wasnt sure if i even liked des abends - now i am converted. Her interpretation of soaring is fabulous.
어떻게 한국 강원도의 한 학생이 이 경이의 경지에 올라 피아노를 연주하여 세계를 놀라게 하고 있는지 감탄스럽기만 하다
♡신의 뜻♡
아멘♡
We throw praise around too much, and than when we really need it, it sounds flat and common. This performance needs new words for praise, the old ones like amazing, genius, passion, and spirit, seem too tarnished to do a proper job. So moving.
Guida gli occhi il fascino della bellezza a seguire saltelli di suoni sul pianoforte.Ali di dita sorseggiano grappoli di piccole gemme sonore.
L'arte di ascoltare suppone conoscenza e affinamento del gusto.Non si può improvvisare sapienza uditiva senza studio e finezza d'amore.
Sono con Te d'accordo pienamente......Yeol Eum Son e' veramente una grande interprete!
It is simply unbelievable how Asian musician can understand German music so good! For example Jazz or folk music can't play so well as their natives owners.
this is beautiful
Hypnotizing performance.
Truly exquisite.
마음이 치유되는 그녀의 연주…
근데 왜 눈물이 나는거죠
Wonderful performance!
Danger to Yeol's hands and wrists!
Yeol's performance is beyond beautiful. She eschews virtuosity for its sake, and balances the pedal points in the left had without making them overly-expressed. This work could not be played more beautifully.
I have some concerns over her taking on some of the huge works (like the Prokofiev piano concertos) which can damage the hands and wrists if performed too often. Also, they are not really worth her doing them from an "artistic" standpoint.
Much of the Prokofiev genre for piano is just "pounding" for the sake of using the instrument like a huge drum. I realize that she has to do these to "make her career." But just ask Gary Graffman, they can also damage the hands and wrists permanently. Byron Janis also faced damage to his hands and wrists...a magnificent career cut short.
Mind you, she plays them beautifully. I just cringe when I see her smashing her hands and doing full glissandi time after time.
Yeol is far too great an artist to take that kind of risk. I hope she reads this post. She can perform the Prokofiev concertos, make single recordings of them and just DROP them. Same with the Bartok concertos. Of course she can do them. But they are just not worth it.
sanjosemike
For crying out loud....
The right technique will prevent injury. Firmness without excessive tension. Russian school.
Hi, San Jose Mike,
I just read your commentary, which I think very interesting!
As we both, with many others, cherish the artistry of Mademoiselle Son, I asked myself if you could be right.
I was myself a piano teacher in a swiss Conservatoire de Musique, and played piano since I was a little girl, with same indestructible faith and love in Music as Yeol Eum Son, but without her talent! and eventually made my career as mezzosoprano
(We could very easily write on same problems concerning the world of singing: voices pushed against vocal folds possibilities, too early heavy repertoire, terrible teachers, stressing rivalries and jealousies...)
I heard Mademoiselle Son few weeks ago in a solo program, where she performed unusual repertoire, transcriptions of Viennese Waltzes, rather challenging and virtuoso.
Same exquise musicality, variety of colors, modest but radiant attitude.
I didn't notice any stuffiness in her playing. But that was no Prokofiev, no Rachmaninov!
One thing astounded me: she was wearing horrible stilettos (Yuja Wang's style) and I wondered how one can maintain a right posture playing the piano with such shoes.
What do you think about this?
I've seen she's coming back to Switzerland for a three Beethoven's Sonatas program, and I'll attend with immense joy.
I do hope she will wear lower type of shoes...
Best regards, Micaela.
오래 오래 그 모습 그 연주 듣고싶다.
A first class performance
wonderful!
the volumn of sound available on these downloads is so low compared with most. . Why not louder?
Shumann wrote such beautiful melodies. Wath a charming composition
Too much beautiful.. But cannot understand why she did not get 1st prize at the competition.
Is anyone have this mp3file, better sound quality?
♡신의 섭리.♡손 열음♡
3:18
Entscheidend ist die Frage nach der Frage, ob die Gestalt des Werkes und seines
Autors auch diejenige der Pianistin ist!...mian hamnida man...
berry good 👍👍
the computer, not the makeup XD
8:08
17:55
can't say its very good, too soft sometimes (2 piece), time keeping can be better, indeed. I love this play, but I thought on Cliburn competition would much more powerfull play, IMHO. Some VERY good pianist even dont pass to the first round - but this play I cant named better of other good pianists...
Her's is the perfect esthetics of the 19th century German Romanticism
Rubinstein...
lol like the makeup? haha
3:16
8:08
17:55
10:51
6:36
3:16
17:55