Yeol Eum Son

Piano

Artistic Director – PyeongChang Music Festival & School

Biography

Yeol Eum Son’s graceful and timeless interpretations, crystalline touch and versatile, thrilling performances have caught the attention of audiences worldwide. Praised for her widely eclectic concerti repertoire, ranging from Bach and all-Mozart to Shchedrin and Gershwin, her recent concerto highlights include appearances with the Gürzenich-Orchester Köln, Konzerthausorchester Berlin and Bergen Philharmonic under the baton of Dmitrij Kitajenko; a debut Paris date with Orchestre Philharmonique de Radio France under Mikko Franck, and Mariinsky Theatre Orchestra under Valery Gergiev amongst others.

In the 2017-18 season, Yeol Eum made distinguished UK debuts in Birmingham with the CBSO and Omer Meir Wellber (Mozart Piano Concerto No 21) and at London’s Cadogan Hall with the Academy of St. Martin in the Fields (Mozart Piano Concerto No 8 & 21). London debut coincided with Onyx CD release of a highly acclaimed all-Mozart recording featuring Mozart’s Piano Concerto No.21 with the Academy of St Martin in the Fields under Sir Neville Marriner for whom it was the very last recording. According to The Times Yeol Eum Son is a model of clarity and fleetness whilst Gramophone called the recording an uncommonly fine Mozartian debut.

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Recent News

Midwinter Magic from Yeol Eum Son in PyeongChang

Yeol Eum Son plays Beethoven in her hometown and talks to Peter Quantrill of Pianist magazine. Watching Yeol Eum Son on YouTube is one thing – and there’s a lot to see, from her winningly eager Mozart concerto at the Tchaikovsky Competition in 2011 to sundry chatshow...

Reviews

“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

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

The Times

“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 orchestra . A musical experience of the deepest mutual understanding is portrayed, a truly magical moment.”

von Frederik Hanssen

Der Tagesspiegel

More Reviews

“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.”

Resmusica

 

“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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