Piano Recital by Kim Chee Eun Video ( 23 January 2008 )
Born in South Korea, KIM Chee Eun began piano studies at the age of six. While in her native country she was winner of several competitions, including those sponsored by two prestigious newspapers, The HanKook Ilbo and The Kyung Jae Times. In addition to many solo and chamber music concerts, she performed the Grieg Piano concerto as soloist with the Rumania National Orchestra.
Chee Eun received her Bachelor’s degree in 1999 from Ewha Woman’s University in Seoul, Korea, and her Master of Music degree in 2001 from the Manhattan School of Music where she studied with Arcady Aronov. She had her New York recital debut at the Weill Recital Hall of Carnegie hall on October 2001, the special Presentation Award’s Recipient sponsored by the Artist International Presentation Inc. She gave a solo recital at the Michael C. Carlos Museum of Emory University on February 2005. She served as the main accompanist in Siloam Presbyterian Church and Elim Church in Atlanta, USA, from 2001 to 2006. She was the accompanist of the Woman’s Choir in Korean Television Network.
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Chromatic Fantasy in D minor, BWV 903
J. S. Bach – BWV 803
This work is originally for harpsichord. Two Fantasias of J. S. Bach, Chromatic Fantasy and Fugue (BWV 803) and Fantasia and Fugue in A minor (BWV 904), are full of nature and diversity. BWV 904 is contrapunctual. On the other hand, BWV 803 moves very freely, which is affected by his mentor, Hamburg Luminary Dietrich Buxtehude. There are two four-note segments of chromatic scale. Many modulations, which are far form the home key, appears frequently and suddenly. There is long chromatic scale over a D pedal point. Most of his works are church music. His music often start on minor scale in dark and sad emotion; however, always end on major scale in bright, happy and positive mood. This symbolizes the change of our spirit due to the love of the God. Car Philip Emanuel Bach, his second son, documented his music heritage and passed it onto many musicians. Creativity and improvisation of J. S. Bach are followed by Mozart, Beethoven, and Liszt.
Sonata in Ab major, opus 110, moderato cantabile molto espressivo
Beethoven – Op. 110
Beethoven sonata Op. 100 bridges the gap between his classical works and romantic ones even if it has classical structure. Late sonatas including this work are closer to romanticism rather than classicism. It is composed in 1821 when he became deaf but never gave up his passion for music. It is filled with beautiful melodies like Chopin’s. In the first movement, we feel more fluid lyricism than his pianism or dramatic energy. The final movement contains a unique structure with recitative. The opening measure of the first movement is similar to the fugal subject in the third and last movements. Characteristics of the fugal subject include descending diatonic scale, ascending fourth, and descending minor third. The recapitulation in the first movement starts with D flat major which is fourth above the original mode, A flat major.
PomaHC, op. 5 Romance BaJIbc-CKepIIO, op. 7 Valse-Scherzo
Tchaikovsky – Op. 5 and Op. 7
He is one of the representative nationalism musicians in 19th century. His music contains the national spirit. Many of his works were made for the Russian rich at that time, mirroring their lives. Nevertheless, his music has been loved by many others. His music is simple but hearty with rich melodies. His melodies are very lyrical; this is why he is called a Chopin of Russia. His early works including Op. 5 and 7 are rooted in pragmatism. These works have multiple phases of emotion just like tone painting. These are in highly subjective and nostalgic mood, but also include alive and sharp rhythms.
Hungarian Rhapsody No. 12 in C# minor
Liszt – Hungarian Rhapsody C# minor
Franz Liszt was proud of his Hungarian heritage even though he couldn’t speak Hungarian. His father, Aclam, had performed as an accomplished singer, cellist, and pianist in concerts conducted by Haydn at the Esterhazy palace in Eisenstadt located thirty miles southeast of Vienna. His music is full of the themes from Hungarian folk music although many tunes are contemporary. In 1846, he collected “Hungarian national melodies” and some of these are developed to Hungarian Rhapsodies. Fifteen Hungarian Rhapsodies for solo piano are made in 1846-53. Six works of them are published as orchestral transcription in 1874-75. Hungarian Rhapsodies are mixed with slow and fast tempos, called Verbunkos. Verbunkos was originally shown in social dance and salon music in late 18th century. Beethoven, Schubert, and Batok also employed Verbunkos in their works. Hungarian Rhapsodies are Hungarian gypsy music with many minor keys, dotted rhythms, heavily accented downbeats, and sixteenth-plus dotted-eight note patterns.