Skill and spontaneity: Seong-Jin Cho at Wigmore Hall

By Roy Westbrook, 26 October 2021

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“the long melody in the middle ... floated effortlessly out into the auditorium”

Reviewed at Wigmore Hall, London on 25 October 2021

Janáček, Piano Sonata 1. X. 1905 "From the Street"

Ravel, Gaspard de la nuit

Chopin, Scherzo no. 1 in B minor, Op.20

Chopin, Scherzo no. 2 in B flat minor, Op.31

Chopin, Scherzo no. 3 in C sharp minor, Op.39

Chopin, Scherzo no. 4 in E major, Op.54

Seong-Jin Cho, Piano

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.

*****

Maxime Pascal shows his mettle in Boulez and three world premieres

Peter Quantrill, 20th November

Seong-Jin Cho brings pianistic glamour to a bold programme of premieres in the LSO's Futures concert.

****1

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Roy Westbrook

Roy Westbrook gained a diploma in music history at London University (Morley College) and was for some years the head of music day schools at Oxford University, where he also led music summer schools. After some years leading the University's business school he has returned to music teaching and writing, and recently took part in the Arts in Residence courses on Bruckner, Mahler and Bach He is co-author (with Terry Barfoot) of a history of opera, and has taught day schools on Sibelius in Oxford and elsewhere.