Eunmi Ko piano recital at Timucua
Exploration, defiance, and selection outlined pianist Eunmi Ko ’s recital on Sunday night on the Timucua White Home. A graduate from the Eastman School of Tune, Ko is a supremely agile and versatile pianist. The terribly fascinating software was as soon as loosely attached by a subject of dance, and it fearlessly juxtaposed current music and enjoyable gadgets from the classical repertoire.
A effectivity of something by way of Morton Feldman, an unimaginable twentieth century composer of indeterminate track, is itself a curiosity; Ko ’s rendition of three Dances, from 1950, redefined the place of the pianist as a efficiency artist. Choreographed by way of Jeanne Travers, Three Dances perceived to render specific the introspection and self-examination of the piano participant as she works by means of the dissonant and disjointed rating. How? By way of The numerous fast pauses of the piece, Ko spoke again to the notes with a visible interpretation of the music ’s implicit meaning. firstly, she confronted the audience with eyes large open, as if to defy her spectators. She moreover cocooned into her seat and embraced herself as she bowed down her head. By Means Of exploring with noises – she rubbed the bottom together with her shoe soles and blew into the piano – Ko added a further layer of prolonged techniques to the intriguing choreography.
While the primary dance features a two-notice motif inside the bass enroll, the third has the pianist pull out a drumstick and bang on a flooring tom with an empty gin bottle lying on best of it, because the left hand performs a repetitive chord throughout. three Dances is an excessively intriguing effectivity piece, and Ko ’s deal with it succeeded by way of fascinating the audience with alternating episodes of befuddlement, ache, and sweetness. That ’s what memorable performances of avant-garde monitor incessantly do.
the second of Granados ’ Three Spanish Dances was notably poignant; Ko infused it with craving and subtly emphasised the melancholy repeating bass decide. Curiously, Ko did not pause previous to the top of the Feldman and the first dance; the abrupt onset of Granados ’ tonality was pleasantly intrusive, nearly impertinent.
The spotlight of this technique was Chrissy Seunghee Lee ’s Parakeet Dancing (see embedded video above). The Korean composer imbues her 2014 piece with a totally partaking sense of concord, by which the skittishness of the unfold-out melodies results in a deceptive tonal middle. Staccato notes inside the bass are countered by way of dissonant scurries prime inside the greater register. because the piece progresses and the items start to coalesce, flighty eruptions burst out, however sparsely managed by way of the pianist. About midway in the middle of the piece, Ko reached into the piano to pluck strings from each end; the harpsichord-like ghostly echo that this produced was as soon as hanging, particularly because it adopted the sooner bursts and flurries.
The additional well-recognized gadgets have been D’un cahier d’esquisses and L’isle joyeuse, each by way of Debussy, and Ballade No. 1, by way of Chopin. Ko ’s efficiency of Debussy featured good work on the damper pedal, rising islands of sound. Her fast finger work as she crossed her left give up to the excessive finish of the keyboard to caress the prime notes led to a pleasant interpretation, with an common air of freshness. For L’isle joyeuse, Ko employed a additional nuanced use of dynamics than within the first Debussy choice. Likewise, she dealt with rather well the tempo wavering on the Chopin, build up a way of drama and emotion. the draw back, alternatively, was the tendency of the pianist to use a tough assault – considerably too extreme for Chopin.
the second updated selection was John Liberatore ’s She rose, and allow me in: Scottish Permutations and Fugue. A Set of some episodes, the piece works as a showpiece for the pianist. the primary movement opens at a breakneck tempo, and is immediately offset by means of a quieter reimagining of the distinctive theme. primarily probably the most thrilling and technically troublesome permutations have been the contrapuntal sections. Ko dealt with the melodic overlap with precision. Even Supposing the piece presents a lot selection and inventive modifications of the precept melody – onerous prime versatility from the performer – in the long run the quick episodes don ’t hook up with emotional resonant.
With a wise, leading edge, and smart style for programming, Eunmi Ko is an artist to take care of on the radar.
to go to Eunmi Ko ’s site, click on proper right here. to go to the website online of the Timucua Arts Basis and find out about upcoming performances, click on right here. to watch a efficiency of Morton Feldman ’s Three Dances, click on on right here. to observe a efficiency of John Liberatore ’s She rose, and allow me in, click on proper right here.