Press

“Ihre Interpretation war subtil, in perfekt abgestimmtem Dialog mit dem Orchester – und passagenweise, wo es Mozart einforderte, virtuos. Ihre Zurückhaltung brachte die düsteren Farben dieses Konzerts in allen Schattierungen zur Geltung. Der knapp 30-jährige Mozart hat hier ein Musikstück geschaffen, in dem er sehr persönliche Gefühle wiedergibt, das Verhältnis zu seiner Umwelt darstellt und, wie gesagt wird, selbst geistige Fragen und Themen abhandelt. Dieses 1785 entstandene Konzert entstand offenbar in einer heftigen emotionalen Aufwallung innerhalb weniger Tage. Erstmals komponierte Mozart ein Klavierkonzert in Moll – und nahm damit die Tonart, die Düsterkeit und Dramatik des „Don Giovanni“ vorweg.” Charles E. Ritterband

Klassik Begeistert

Yeol Eum Son… played with a dazzling range of dynamics, patiently giving each musical idea a semi-improvisatory spontaneity… With the first piece [Ravel’s Valses Nobles et Sentimentales] she took the listener by the collar and never let go, ranging from wispy and mysterious to a murky haze of sound in the smoky final waltz… Her showmanship came to the fore in the final work, Liszt’s “Mephisto Waltz No. 1, played with booming power and devilish ferocity in the cackling multi-trills and gossamer right-hand runs.

Washington Post, 30 April 2018

“Yeol Eum Son, a model of clarity and fleetness… a winning album all round.” – Mozart Piano Concerto No. 21 (Onyx), 27th April 2018

The Times

“The final toccata was dazzling, a preface to a simply phenomenal performance of Stravinsky’s Three Pieces from Petrushka. Son thunders the big, roof-raising stuff but interlaces it with crisp chords and single lines that get to the heart beneath the wood of Stravinsky’s tragic puppet. Her opening Gershwin was immensely likeable, too, laid-back but not without the necessary freedom of the right hand above the ragtime left. The encore, Moszkowski’s Etincelles (Sparks), a Horowitz favourite, was a perfect butterfly to conclude.”

The Arts Desk

“…a Chopin concert at the Aachen Musikhochschule, where the South Korean pianist Yeol Eum Son excelled…. The variations [in E major] on the song “Der Schweizerbub” passed splendidly and elegantly… A challenge for the pianist, who not only proved to be a consummate virtuoso, but interpreted every piece [24 Préludes op. 28]  in a highly sensitive and often oppressively intense way….”

Aachener Nachrichten

“The last was a dazzling tour de force [Stravinsky Three Movements from Petrushka], Yeol Eum finding that vital emotional connection with the music and physically embracing its raw energy and dynamic extremes with ferocious virtuosity. The encore – Moskowski’s effervescent Etincelles – was just as captivating, just as virtuosic.”

The Scotsman

“Yeol Eum Son plays the concerto [Mozart Piano Concerto No 21] with a lightness and freedom that is most appealing…The broad and colourful  Variations in C major on a theme by Nicolas Dezede ‘Lison dormait’ K264 is performed with a sassy cuteness and her playing is at times playful, energetic, jovial, subdued, flashy, vigorous and joyful as befits the variations… Yeol Eum brings the piece [Piano Sonata No. 10 in C major, K330] to life with neatly sprung rhythms, and inflects the piece with a splendid range of keyboard touch and appropriate colour… This is one of the finest debut discs I have recently encountered.”

iclassical.co.uk

“This is an uncommonly fine Mozartian debut.”

Gramophone

“Marvellous, intense and boundlessly virtuosic…from the first crystal clear notes of Liszt’s La Leggierezza, pianist Yeol-Eum Son captured her audience. …[she] conjures joy and sophistication through her magical and expressive playing.”

Freiburger Nachrichten

“Her phrasing was delicate, unhurried… She managed to emphasis the graceful playfulness of the first movement Allegro maestoso, while introducing something more profound in the Andante. Her touch was elegant and restrained, resisting the urge to dominate.”

Bachtrack

“This evening’s concert is a sort of rehearsal with a beautiful discovery, the young pianist Yeol Eum Son, winner of the Tchaikovsky contest, in the unexpected Gershwin concerto. Jazz atmosphere and respect for the classical form for Gershwin’s Concerto in F for piano and orchestra of which the Korean pianist gives a playful and jubilant interpretation.”

Remusica

“The Concerto’s Allegro reveals unbound seventh chords, becomes playful with syncopated chords and under Yeol Eum’s fingers never fails to link sincerity and lightness, sentiment and exaltation, eeriness and elegance. (…) The final Allegro gives the praise back to a virtuosic soloist, who slips melodies ‘à la Rachmaninov’ towards Lisztian soundscapes, keeping the humor in the piece. Well-deserved ovation for Yeol Eum Son, who offers Nikolai Kasputin’s Etude No. 7 Op. 40 as an encore – a piece as technical as it is languid.”

Bachtrack

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