Evgeny Kissin Dazzles Korean Fans

Evgeny Kissin said that performance is ``the gift to composers and all of humanity,’’ and this pianist is the gift that keeps on giving. In his Seoul recital, Thursday, the Russian sensation _ or revolution rather, to imply the historic dimension of his presence _ gave 10 encores and serviced fans with an autograph session that continued past midnight.


(Photos courtesy of Credia)

The pianist’s concert was an event people did not want to miss. The concert hall of Seoul Arts Center was fully packed well before the show began, with less than a handful of latecomers slipping in after his delightful rendition of select pieces from Prokofiev’s ``Romeo and Juliet.’’
Each time the tall figure emerged onstage the audience exploded into applause but would hush instantaneously when he sat down.

No one dared to cough between the movements of Prokofiev’s Piano Sonata No. 8, and it was as if the members of the audience were turned into stone under the spell of Kissin’s magical pianism (OK this sounds so corny, but people, including myself, were so incredibly STILL). An occasional shifting in the seat would softly echo through the hall, and the musician’s deliberate but effortless notes hung suspended in the air, even after he took his fingers off the keys.

This genius, and one does not use this word lightly, has a way of holding you at the edge of the seat _ in the silence between the notes he holds your breath before poetry manifests itself in his rollicking, glistening phrasings. During concerts, this reporter is usually busy scribbling down notes, but throughout Kissin’s performances, she had to remember to breathe, quite literally. The audience had to try very hard not to clap after each etude as he proceeded immediately to the next one.

When the official program came to an end, the entire hall jumped into a standing ovation, and, a never before seen sight took place. People left their seats and crowded toward the stage, and organizers did not even attempt to intervene as a majority of the 2,500 people took out their cameras and cell phones to fill the hall with a tide of flashes. It must be noted here that the Korean audience is usually quite tame, and don’t try to breach regulations about taking photographs.

The cool hall became heated, quite literally, as fans cheered on for one encore after another. Kissin, looking a bit overwhelmed by the Korean audience _ whom he said is ``the most passionate of audiences, even more so than Italians’’ _ offered more Prokofiev and Chopin, and finally, a dazzling rendition of Mozart’s ``Turkish March.’’ He ended the 1 hour 20 minute encore by bowing gracefully with one hand on his heart _ a sign that the gift for the evening is over. Well, almost over.

A long serpentine line formed in the lobby for the autograph session, which lasted close to an hour until 12:30 a.m. A handful of people had to be turned away at the end, but most were seen jumping up and down in glee, having in possession a token of what would undoubtedly be the most talked-about classical event of the year.

Kissin performs less than 45 times a year, but he gives each session 300 percent, with the added bonus of, on average, 10 encores and a signing session. Chang Il-bum, music critic and radio DJ, has watched Kissin onstage over the years since the 37-year-old’s early days in Moscow. ``When I first saw him as a young man (in his 20s) in Moscow, I thought I’d seen it all, but each time I see him he sets new horizons. It’s difficult to imagine how he’d be like as a white-haired old man,’’ he told The Korea Times.

For the meantime one can only wait for the pianist’s return, and dream of what more he has to offer.

Cellist Yang Sung-won: "Completing" Beethoven On & Off Stage

(Korea Times Photo by Shim Hyun-chul)

Having recently released the country’s first recording of Beethoven’s complete cello sonatas, cellist Yang Sung-won and pianist Pascal Devoyon will give a rare marathon performance in Seoul, Nov. 4, along with shorter concerts in other cities. Before the two musicians begin their cross-country concert tour, Yang sat down with The Korea Times to discuss music and life, and stepping toward his dreams, in a coffee shop near a Seoul park. Tuesday.

Beethoven’s cello pieces are the first sonatas in the history of music to treat the cello as an equal partner for the piano. Recording the deaf maestro’s complete sonatas is meaningful in that one can ruminate the very essence of his life and works.

``For both Pascal and I, this kind of project (signifies) approaching one or two steps closer to our dreams. (Beethoven’s) pieces are like utopia -- you read about it, you study about it, perform it and you understand the piece. You can have your own utopia in your mind,’’ said the 40-year-old, with eyes glimmering. ``And when you’re performing it, the reality always walks along with us.’’

Yang is internationally renowned as a soloist and chamber musician, performing in prestigious concert halls in all corners of the world. A graduate of the Paris Conservatory and Indiana University, he currently lives in Seoul and teaches at Yonsei University School of Music.

``When the project came up (working with Pascal Devoyon) was an obvious and evident choice because our musical goals are in the same direction,’’ he said. Yang and Devoyon have been well acquainted, having attended music festivals together in France and Korea for the past six or seven years.

``And Pascal is somebody that I respect and admire a lot, as a pianist, as a musician and above all as a scholar as well,’’ said the cellist. Devoyon is a renowned pianist, appearing on stage with major world orchestras. He received the French government’s prestigious l’Ordre du merite as Chevalier in 2001 and currently teaches at the Berlin University of the Arts.

Beethoven’s five sonatas represent all of what is commonly considered his three periods, from the Classic period, when he was searching to find his own identity to get away from the shadow of Mozart and Hayden, and to have his own musical world; from the Romantic period, when Beethoven achieved his highest artistic goals; and finally the Spiritual period, ``where he really reaches out in his inner feelings and translates that into the art, which is called music,’’ said Yang.

When asked about what music means to him, he said, ``I was born in a musical family,’’ and explained that his father and older brother were both violinists. ``So from as far as I can remember back, we’ve had music in the house.

``Obviously, it’s my profession, but it’s a profession that I cannot live without.’’ Yet, he pointed out that as a performer it is a ``a constant challenge,’’ explaining that ``when the composer has completed his piece, for me that’s 50 percent complete. It’s exactly at the moment we’re performing it’s being complete… It’s our duty to be up to the level of the pieces we’re completing. In other words we try our best.’’

Despite having award winning recordings and a string of critically acclaimed performances under his belt, the cellist was very humble and emphasized repeatedly the importance of being earnest and keeping in shape.

Marathon Concert

Classical music buffs should not miss this occasion to spend almost half a day at an art hall, with two and a half hours -- plus alpha -- of Beethoven. Music critic Yoo Hyeong-jong will give the audience a brief historical background about Beethoven’s time and insight about the maestro as a human being. After an hour of the first two sonatas, a 15-minute intermission and the third piece, the audience can go on a one-hour dinner break to come back for the last two sonatas. The Mozart and Handel variations are ready as encore pieces, said Yang, if the audience is still willing to listen. So make sure to cheer on.

``There’s nothing to be scared of, to either digest the music they hear or rest a bit,’’ added Yang. ``We very much hope the audience will be actually witnessing the work being completed, and share with them -- I say share because we’re not just giving it to them, we’re playing for ourselves, too,’’ he said with a big hearty laugh.

The marathon performance will take place at LG Art Center, southern Seoul, beginning 4 p.m. on Sunday, Nov. 3. Tickets cost 30,000 won-60,000 won. The hall is located near exit 7 of Yeoksam subway station on line 2. Call (02) 2005-0114 or visit www.lgart.com for reservations and information.

Yang and Devoyon will give three shorter performances outside of Seoul, Monday, Oct. 29, 7:30 p.m., at Gimhae Art & Sports Center (www.gasc.or.kr); Wednesday, Oct. 31, 7:30 p.m., at Daegu Suseong Artpia (ssartpia.or.kr); and Tuesday, Nov. 6, 11:00 a.m. at Changwon Sungsan Art Hall (www.sungsan.or.kr). The repertoire will vary for each performance, so visit the Web sites for each respective concert hall near you. You can also call (02) 2187-6222.

Yang and Pascal will take their marathon concert to Japan next spring, but it will be a two-day concert this time.