Seong-Jin Cho shows maturity and subtlety in Verbier recital

By Mark Thomas, 23 July 2018

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“tongue-in-cheek wit, fingers dancing mischievously over the keys”

Reviewed at Eglise de Verbier, Verbier on 23 July 2018

Debussy, Images, Set 1

Schumann, Fantasiestücke, Op.12

Debussy, Images, Set 2

Chopin, Piano Sonata no. 3 in B minor, Op.58

Seong-Jin Cho, Piano

Spacious Prokofiev from Seong-Jin Cho and the Munich Philharmonic

SangKwon Lee, 6th May

Seong-Jin Cho’s premise in Prokofiev is compelling – to reconcile Russian gravitational attack and monumental construction with clarity, colour and contrapuntal legibility.

***11

Poetry and precision: Seong-Jin Cho returns to Carnegie Hall

Susan Stempleski, 12th April

A little over a year after his marathon all-Ravel recital at the Hall, the Korean pianist returns with an exquisitely performed program of Bach, Schoenberg, Robert Schumann and Chopin.

*****

Borodin steps into the symphonic limelight: Noseda and the LSO

Mark Pullinger, 15th February

Seong-Jin Cho continues his Artist Portrait series with the LSO by performing Chopin's poetic Second Piano Concerto.

****1

Seong-Jin Cho collaborates on double-handed LSO St Luke’s programme

Asher Rubenstein, 13th February

In a day of music among friends, superstar pianist Seong-Jin Cho displays his mettle in two demanding programmes of chamber music.

****1

Seong-Jin Cho in Seattle: a flair for freedom at the keyboard

Thomas May, 20th January

Self-effacing in demeanor yet boldly individual at the keyboard, Seong-Jin Cho turns risk, color and freedom into a compelling exploration at Benaroya Hall.

****1

Honeck and Pittsburgh Symphony make a strong Shostakovich statement

No’a L. bat Miri, 3rd December

Carnegie Hall's visit from the Steel City's Symphony demonstrates a thoughtful ensemble's ability to make music speak clearly, even without words.

*****

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Mark Thomas

A lifelong devotee of classical music, Mark caught the bug after listening to The Planets, The Rite of Spring and Beethoven’s Fifth when he was knee-high to a grasshopper. He has degrees in non-musical subjects and currently works as a Chartered Governance Professional, but these have proved to be mere distractions from the wonders of sonatas, concertos and symphonies. He has been reviewing for Bachtrack since 2016, plays viola and violin (very shakily) and used to sing a bit (even more shakily).