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.
From her delectation of the elaborate, quasi-improvisational ornamental writing in the Haydn Sonata to her teasingly understand
To my ears she gave the more exciting interpretation of the mandatory Tchaikovsky First Piano Concerto: a blistering reading that left me gasping. I would have given her gold, not silver.
Shrouded by the orchestra’s romantic swooshing and whispering, [Yeol Eum Son] devotes herself to her dreaming, and Kitajenko follows her in absorbing the emotional impulses of the piano with seismographic sensitivity, to transmit the joint pulse, the joint breath to the entire
But the big surprise was mainly the pianist Son who gave an explosive rendition of Ravel’s Concerto for the left hand, in a dress that exposes only the active arm …… We have to thank again Gergiev who discovered her a few years ago at the Tchaikovsky Competition.
Son’s poise and lyricism were evident in her reading of the Rachmaninov Piano Concerto no. 1, a work that is musically less substantial and certainly less famous
A kind of superhuman eclat that can easily remind you of Hoffmann or Lhevinne in its supremely clear, neat and even brilliance.
Son should have no trouble building a career. She’s got the fingers and the personality – and, the
Blessed with a natural, unaffected musicality, this young artist plays with a fluid technique and a guileless approach.