Podcasts about seong jin cho

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

durée : 01:28:04 - En pistes ! du mardi 18 mars 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Compositeur phare de l'année, Maurice Ravel ouvre notre émission du jour. Après l'intégrale de l'œuvre pour piano seul, Seong Jin Cho enregistre les concertos. A retrouver aussi : les œuvres pour orgue de Bach par Masaaki Suzuki, un album de musique espagnole par le guitariste Krzysztof Meisinger.

durée : 01:28:04 - En pistes ! du mardi 18 mars 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Compositeur phare de l'année, Maurice Ravel ouvre notre émission du jour. Après l'intégrale de l'œuvre pour piano seul, Seong Jin Cho enregistre les concertos. A retrouver aussi : les œuvres pour orgue de Bach par Masaaki Suzuki, un album de musique espagnole par le guitariste Krzysztof Meisinger.

durée : 00:09:28 - Le Disque classique du jour du mardi 18 mars 2025 - Seong-Jin Cho ouvre l'année Ravel 2025 avec un projet ambitieux : à l'occasion du 150e anniversaire du compositeur français, le pianiste coréen publie l'œuvre monumentale de Ravel en trois albums.

durée : 00:09:28 - Le Disque classique du jour du mardi 18 mars 2025 - Seong-Jin Cho ouvre l'année Ravel 2025 avec un projet ambitieux : à l'occasion du 150e anniversaire du compositeur français, le pianiste coréen publie l'œuvre monumentale de Ravel en trois albums.

In this episode, we discuss recordings of “Vivaldi: Le Quattro Stagioni” (Harmonia Mundi) by Théotime Langlois de Swarte & Le Consort, “Ravel: The Piano Concertos” (Deutsche Grammophon) by Seong-Jin Cho & The Boston Symphony Orchestra / Andris Nelsons, “Hough: Piano Concerto, Sonatina & Partita” (Hyperion) by Sir Stephen Hough & The Hallé / Sir Mark Elder, “Rushin'” (Right Tempo) by Emanuele Cisi (1h.31m.39s.), “Tell The Truth” (OA2 Records) by Ben Markley, and “Inner Flight Music” (Stunt Records) by Tobias Wiklund.   The Adult Music Podcast is featured in: Feedspot's 100 Best Jazz Podcasts   Episode 204 Deezer Playlist   Fair use disclaimer: Music sample clips are for commentary and educational purposes. We recommend that listeners listen to the complete recordings, all of which are available on streaming services in the links provided. We also suggest that if you enjoy the music, you consider purchasing the CDs or high-quality downloads to support the artists.   “Vivaldi: Le Quattro Stagioni” (Harmonia Mundi) Théotime Langlois de Swarte, Le Consort https://open.spotify.com/album/4OkGlTwVoKoLBbKLY6oqtz https://music.apple.com/us/album/vivaldi-le-quattro-stagioni/1779419985 https://music.amazon.com/albums/B0DMTPCDKL   “Ravel: The Piano Concertos” (Deutsche Grammophon) Seong-Jin Cho, Boston Symphony Orchestra / Andris Nelsons https://open.spotify.com/album/6HO4VHBD5Q1IDdwnkPPVn5 https://music.apple.com/us/album/ravel-the-piano-concertos/1791580703 https://music.amazon.com/albums/B0DTJBKZVP   “Hough: Piano Concerto, Sonatina & Partita” (Hyperion) Sir Stephen Hough, The Hallé, Sir Mark Elder https://open.spotify.com/album/6aj6j7obrqKiSJJF9GB51l https://music.apple.com/us/album/hough-piano-concerto-sonatina-partita/1790189101 https://music.amazon.com/albums/B0DSWK94H6   “Rushin'” (Right Tempo)  Emanuele Cisi, Cesare Mecca https://open.spotify.com/album/4MMwzcfiGiwNwocLjnsEER https://music.apple.com/us/album/rushin/1791640360 https://music.amazon.com/albums/B0DTJL9B1C   “Tell The Truth” (OA2 Records)  Ben Markley https://open.spotify.com/album/21f44X2qFUmYJRgmjc1SCf https://music.apple.com/us/album/tell-the-truth/1788936703 https://music.amazon.com/albums/B0DSCJSFDM   “Inner Flight Music” (Stunt Records)  Tobias Wiklund https://open.spotify.com/album/13GA2R3tKPtU0pZE6degYE https://music.apple.com/us/album/inner-flight-music/1794297870 https://music.amazon.com/albums/B0DVZDZWPB

Einmal mehr zeigt der Pianist seine pianistische Souveränität, seine flexible Technik, seinen Feinsinn, seine Eleganz.

The cool of the Arctic meets the warmth of Italy. The brooding, majestic themes of Sibelius' Fifth Symphony evoke the remote landscapes of conductor Santtu-Matias Rouvali's native Finland. Tchaikovsky transports listeners to a Roman carnival in his Capriccio Italien. Seong-Jin Cho, lauded for his “expert music-making … miraculous in its execution” (The New York Times), takes on Prokofiev's incendiary Second Piano Concerto. This program will also be performed at Wheaton College on Friday, February 28. Learn more: cso.org/performances/24-25/cso-classical/seong-jin-cho-plays-prokofiev/

Seong-Jin Cho, the 30-year-old pianist and winner of the 2015 International Chopin Piano Competition, has been entrusted by Deutsche Grammophon to spearhead the company's celebrations of the 150th anniversary of the birth of the great French composer, Maurice Ravel. The first release, out on January 17, contains the complete solo piano works, and the second, due on February 21, is of the two piano concertos (a live recording with the Boston Symphony Orchestra and Andris Nelsons).  Gramophone's James Jolly caught up with Seong-Jin Cho just after the pianist had performed the complete solo works in a single evening in Liechtenstein to talk about Ravel's important contribution to the piano repertoire.

durée : 01:28:27 - Seong-Jin Cho, haute virtuosité et richesse des nuances - par : Aurélie Moreau - « Debussy aimait Chopin. Sa musique est elle aussi poétique et colorée » confiait Seong-Jin Cho à La Lettre du Musicien. Pianiste au jeu lumineux, éblouissant de maîtrise et de vitalité, il a remporté le 1er Prix au Concours Chopin en 2015.

D'Ouverture vun enger Saison ass ëmmer e feierlechen Ament. Och wann et déi lescht mam aktuelle Chefdirigent ass. Erlieft den éischte Concert vum Gustavo Gimeno senger leschter Saison mat de Lëtzebuerger Philharmoniker. Den Titel "Colours & Contrasts" ass hei Programm. Um Programm: Maurice Ravel: Ma mère l'Oye. Cinq pièces enfantines pour orchestre Dmitri Chostakovitch: Concerto fir Piano, Trompett a Sträichorchester Sergueï Prokofiev: Sinfonie Nr. 3 Interpreten: Simon Van Hoecke, Trompett Seong-Jin Cho, Piano Lëtzebuerger Philharmoniker Gustavo Gimeno, Direktioun De radio 100,7 an den opus 100,7 iwwerdroen dëse Concert live aus der Philharmonie den Owend (20.9.) um 19:30. Duerno bleift de Concert nach bis de 27.9.2024 an der Mediathéik op www.opus.radio disponibel.

Pre-order The Memory Palace book now, pal. On Bookshop.org, on Amazon.com, on Barnes & Noble, or directly from Random House.The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show and independent media, you can make a donation at Radiotopia.fm/donate. I have recently launched a newsletter. You can subscribe to it at thememorypalacepodcast.substack.com. Music Pure (Ride the World) by (the extraordinary) Brendan Eder Ensemble Violette... from Philippe Sarde's score to Violette et Francois Merry-go-Round and People on Sunday by Domenique Dumont Dane by Nils Frahm Two different versions of Debussy's Passepied, the piano one is performed by Seong-Jin Cho, the synth one by Isao Tomita Love from Matthew Herbert Memorial Park from Bernard Herrmann's score to Obsession. Phantom Signals by Tvarvargen NotesThere's plenty written about Ken Allen, but I particularly appreciated Jason Hribal's book Fear of the Animal Planet: The Hidden History of Animal Resistance.

Der Pianist Seong-Jin Cho hat prestigeträchtige Wettbewerbe gewonnen und sich international einen Ruf erworben. Sein Tourneeplan ist voll: gerade war er bei den Dresdner Musikfestspielen. Grit Schulze hat ihn getroffen.

durée : 01:33:59 - Relax ! du mercredi 24 avril 2024 - par : Charlotte Landru-Chandès - Seong-Jin Cho, un talent débordant et une musicalité innée.

Beethoven's Third Piano Concerto is a landmark of his dark and restless middle period, here featuring Seong-Jin Cho, whose 2018 Chicago debut offered “about as thrilling a display of sheer powerhouse keyboard bravura as one is ever likely to encounter” (Chicago Classical Review). Gemma New conducts the program, which closes with Mendelssohn's Scottish Symphony, evoking highland mists, warring clans and long-lost folk dances. Learn more: cso.org/performances/23-24/cso-classical/seong-jin-cho-plays-beethoven

Chillout Classic w Radiu Spin #18 "Moon". 20 lipca to "Dzień Księżyca", zatem ten odcinek dedykowany jest księżycowi. 1. J.S. Bach - Aria z Wariacji Golbergowskich, Trio Yoshiaki Sato, Akira Harada, Hitomi Nikura (akordeon solo). 2. J.S. Bach - Wariacje Goldbergowskie, 25. wariacja, Glen Gould (1981). 3. L.van Beethoven - Sonata cis-moll, "Księżycowa" cz.1 Adagio sostenuto, Alfred Brendel. 4. Glen Miller - Moonlight Serenade. 5. Blue Moon, Frank Sinatra. 6. Bart Howard - Fly Me to the Moon, Diana Panton & Don Thomson - piano, Reg Schwager - guitar, Neil Swainson - bass. 7. Henry Mancini - Moon River, Jacob Collier. 8. C. Debussy - Clair de lune, Seong-Jin Cho. 9. F. Chopin - Nokturn cis moll, Seong-Jin Cho. 10. Pink Floyd - Dark Side of the Moon, Us and Them.

Handel's keyboard suites have remained strangers to most concert pianists. Seong-Jin Cho hopes that his latest album for Deutsche Grammophon will shed new light on some of the most heartfelt of all Baroque music. Set for release today, The Handel Project contains three of the 28-year-old South Korean pianist's favourite suites from Handel's first collection of Suites de pièces pour le clavecin. These are coupled with Brahms's virtuosic Variations and Fugue on a Theme by Handel, which Cho believes to be “the best variations that have ever been written”.Track Listing:1 Adagio 02:362 Allegro 02:183 Adagio 01:374 Allegro 02:105 Prélude 02:166 Allegro 02:297 Allemande 03:058 Courante 01:419 Gigue 02:0110 Prélude 02:0911 Allemande 04:3412 Courante 01:4313 Air & 5 Variations "The Harmonious Blacksmith" 03:3514 Aria 00:4915 Var. 1 00:4716 Var. 2 (Animato) 00:4217 Var. 3 (Dolce) 00:4418 Var. 4 (Risoluto) 00:4919 Var. 5 (Espressivo) 00:5720 Var. 6 00:5621 Var. 7 (Con vivacitá) 00:3822 Var. 8 00:3623 Var. 9 (Poco sostenuto) 01:1724 Var. 10 (Energico) 00:3525 Var. 11 (Dolce) 00:4826 Var. 12 (Soave) 00:4927 Var. 13 (Largamente, ma non più) 01:2528 Var. 14 (Sciolto) 00:3829 Var. 15 00:4430 Var. 16 (Piano ma marcato) 00:3131 Var. 17 (Più mosso) 00:2932 Var. 18 (Grazioso) 00:5133 Var. 19 (Leggiero e vivace) 01:0634 Var. 20 (Legato) 01:2335 Var. 21 (Dolce) 00:5136 Var. 22 01:0537 Var. 23 (Vivace e staccato) 00:3338 Var. 24 00:3339 Var. 25 00:3840 Fugue 05:0841 Sarabande 02:3642 Minuet (Arr. Kempff for Piano) 04:17Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Klasikinė poezija su tradicine švedų ir japonų muzika; keisčiausiais pasaulio instrumentais grojantis vokietis Stephanas Micusas, švenčiantis savo 70-ies metų jubiliejų; retai atliekamos Handelio klavišinės siuitos pagal pianistą iš Pietų Korėjos Seong-Jin Cho; džiazo gitaristas iš Danijos Mikkelis Ploug ir prancūzų Couperinų dinastija, su kuria supažindina klavesinininkas Benjaminas Alardas. Visa tai – leidybinės naujienos „Kitame laike“!Ved. Domantas Razauskas

Gestern Abend war der koreanische Pianist Seong-Jin Cho als Solist zu Gast bei den Münchner Philharmonikern. Dirigiert hat ein anderer Jungstar: der israelische Dirigent Lahav Shani.

durée : 01:59:00 - Relax ! du jeudi 15 septembre 2022 - par : Lionel Esparza - Relax vous trace le portrait du jeune pianiste Seong-Jin Cho. Le disque de légende le dernier enregistrement de Herbert von Karajan.

¡Penúltimo episodio de la temporada! Compositor, director y pianista, trás Debussy, Ravel es considerado el segundo compositor francés más importante de todos los tiempos. Su Bolero es una de las piezas de música clásica más escuchadas en todo el mundo, pero en este episodio podrán conocer muchas otras más que también son igual de increíbles. ¡No te lo pierdas!   LO QUE VAN A ESCUCHAR EN ESTE EPISODIO 00:36  Boléro, M. 81. Interpretado por London Symphony Orchestra & Arpad Jóo. 02:57  Tabuhan Djoged. Interpretado por Gamelan Angklung.  04:53  Introduction et Allegro Pour Harpe, Flûte, Clarinette et Quatuor à Cordes. Interpretado por Academy of St. Martin-in-the-Fields Chamber Ensemble. 06:34  Introduction et Allegro Pour Harpe, Flûte, Clarinette et Quatuor à Cordes. Interpretado por Academy of St. Martin-in-the-Fields Chamber Ensemble. 07:41  Gaspard de la Nuit, M.55, II: Le Gibet. Interpretado por Seong-Jin Cho.  09:59  Piano Concerto for the Left Hand in D Major, M. 82: II. Allegro. Interpretado por Yuja Wang, Tonhalle-Orchester Zürich & Lionel Bringuier.  12:50  Daphnis et Chloe: Part III: Lever du jour. Interpretado por Bordeaux Aquitaine National Orchestra & Laurent Petitgirard. 13:56   Gaspard de la Nuit, M.55, III: Scarbo. Interpretado por Seong-Jin Cho. 15:13  Miroirs, M.43: 3. Une barque sur l'océan. Interpretado por Lilya Zilberstein.  16:14  Pavane pour une infante défunte (Pavane for a Dead Princess), M. 19. Interpretado por London Symphony Orchestra & Arpad Jóo.  17:36  Ma Mère l'Oye. Interpretado al piano por Lucas & Arthur Jussen.  19:13  Boléro, M. 81. Interpretado por London Symphony Orchestra & Arpad Jóo.   Notas del episodio en http://www.allegromagico.com/99 Si te gusta el episodio, califícalo en tu app favorita  o puedes dejar tu review. :)  No te pierdas ningún episodio. Suscríbete a la newsletter en allegromagico.com/suscribirme y aprendan con nosotras sobre música clásica.   ¿Quieres aprender lo básico sobre música clásica de forma fácil? Checa nuestra guía para jóvenes y adultos. ¿Ya han escuchado tus niños uno de los cuentos musicales más llamativos que existen? Las Cuatro Estaciones de Vivaldi es una obra ideal para niños y con nuestro cuento podrán conocerla además de aprender muchas cosas interesantes. Ver audiolibro y booklet. ¿Quieres apoyar de otra forma a Allegro Mágico? Tenemos un tarro de propinas para todos aquellos que aman nuestro trabajo y quieren apoyar el proyecto. Síguenos en: Facebook, Twitter, Instagram y Pinterest.  Web: allegromagico.com 

After his critically-acclaimed and award-winning lieder albums with pianists Jan Lisiecki and Seong-Jin Cho, baritone Matthias Goerne concludes his DG lieder trilogy with DG exclusive artist Daniil Trifonov. With this album, Goerne explores the art song from a metaphysical perspective, and in these visionary meditations by Brahms, Wolf, Berg, Schumann, and Shostakovich, Goerne and Trifonov's intense, intuitive partnership opens our ears to the awe-inspiring, yet consoling voice of the prophets. Purchase the music (without talk) at:Lieder (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Reigning Chopin Competition winner and piano superstar Seong-Jin Cho joins us for a preview of his latest album on Deutsche Grammophon, dedicated to the music of Mozart. On the disk is soulful and expressive renderings of Mozart's Piano Concerto No. 20, alongside two very different piano sonatas: No. 12 in F Major, and No.3 in Bb Major. Joining Seong-Jin for the concerto is Metropolitan Opera Music Director Yannick Nézet-Séguin and the Chamber Orchestra of Europe.

Wolfgang Amadeus Mozart, uno de los genios musicales más celebrados dentro de la historia de la música occidental, nació un 27 de enero de 1756. En el año 2021, cuando se celebraban los 265 años de su nacimiento, se estrenó una obra inédita (aunque sea difícil de creer) de este compositor. La mismo es un Allegro para piano que el compositor probablemente escribió a la edad de 17 años, a principios de 1773, hacia el final de su tercer viaje a Italia o inmediatamente después de su regreso a Salzburgo. Al parecer el manuscrito de la pieza perteneció al hijo menor de Mozart y de ahí pasó a la colección del funcionario austriaco y músico aficionado Aloys Fuchs. A finales del siglo XIX, era propiedad de un anticuario y marchante de arte de Viena, y se subastó tras su muerte en 1899. Su existencia fue registrada a partir de la tercera edición del catálogo Köchel, pero la obra se escapó al escrutinio de los estudiosos. En 2018, el Allegro fue vendido a la Fundación Mozarteum de Salzburgo por la familia de su propietario, un ingeniero franco-holandés que había comprado el manuscrito a un comerciante parisino a finales de la década de 1920. A continuación, escucharemos el Allegro en Re Mayor K626b/16 de manos de Seong Jin Cho.

John Pitman, All Classical Portland's Director of Music and Programming, interviews pianist Seong-Jin Cho about the sixth and latest album. Returning to the music of Frédéric Chopin with Chopin: Piano Concerto No. 2, Cho's CD was recorded in April of 2021, in Hamburg and London. Seong-Jin shares with John the process, and the special challenges, of recording in a studio with an orchestra during the pandemic and offers his insight into the young Chopin's approach to the concerto form, as well as to the four Scherzi, which were written at various stages in the composer's life.

Seit der Koreaner Seong-Jin Cho im Jahr 2015 den Chopin-Wettbewerb gewonnen hat, zählt der Pianist zu den Weltstars der Klassik. Im Interview mit BR-KLASSIK erzählt der 26-Jährige, der aktuell durch Europa tourt, vom Klassik-Hype in seinem Heimatland. Außerdem spricht er über sein Verhältnis zu Chopin und zu dem koreanischen Netflix-Mega-Erfolg "Squid Game".

Seong-Jin Cho — Chopin Piano Concerto No. 2 • Scherzi (DG) Jump to giveaway form New Classical Tracks - Seong-Jin Cho by Pianist Seong-Jin Cho became the first South Korean to win First Prize at the Warsaw International Chopin Competition in 2015. Following that award, he immediately recorded Chopin's First Piano Concerto and the four Ballades with Gianandrea Noseda and the London Symphony Orchestra. Playing with the same orchestra and conductor, Cho has released his new album, Chopin Piano Concerto No. 2 • Scherzi. Why have you returned to the music of Frédéric Chopin?  “I didn't record Chopin's music intentionally for five years, because I didn't want to be labeled as a Chopin specialist. I wanted to explore different composers.” How has your relationship with Chopin changed over the past six years?  “It has been the same. I admire and respect his music, because he was very brave to convey so many of his emotions with his audiences. My style of play has changed in the past six years, but my connection with Chopin has not.” What new discoveries did you make about his Second Piano Concerto? “He wrote this piece when he was 20, and at the time he was falling in love. He almost dedicated this piece to her. That it's so romantic, delicate and dramatic. I always try to take an innocent approach rather than a romantic one.” In the first movement, your left hand emphasizes the shifting harmonies and your right hand has the melodic line. How challenging is it to make sure that the right hand doesn't take over?  “There's a saying about Chopin's music that we made when we played his music: ‘The left hand should be like a like a tree, and the right has to be the leaves.' Chopin's music, in general, is also very polyphonic. Not only is the right-hand melody important, but the left-hand melodic line or the inner voice is, as well.” What is it about these pieces that allows you to feature all four Scherzi on a single program? “They feel comfortable all in one place. They're musically connected, yet they're all different, but at the same time they're all similar. The fourth Scherzo is my favorite and the hardest. It is joyful, and the middle section is nostalgic.” Watch now To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Seong-Jin Cho — Chopin Piano Concerto No. 2 • Scherzi (Amazon) Seong-Jin Cho — Chopin Piano Concerto No. 2 • Scherzi (DG Store) Seong-Jin Cho (official site)

Elias and I talk about a few of the great performing pianists. Part 2 we discuss modern and currently performing pianists. https://www.eapettersson.com/ Here is a list of pianists we discuss and think you should listen to: Alfred Brendel (b. 1931) Vladimir Ashkenazy (b. 1937) Martha Argerich (b. 1941) Maurizio Pollini (b. 1942) Nelson Freire (b. 1944) Ursula Oppens (b. 1944) Maria João Pires (b. 1944) Radu Lupu (b. 1945) Murray Perahia (b. 1947) Mitsuko Uchida (b. 1948) *Håkon Austbø (b. 1948) Grigory Sokolov (b. 1950) Santiago Rodriguez (b. 1952) András Schiff (b. 1953) Krystian Zimerman (b. 1956) *Dang Thai Son (b. 1958) Yefim Bronfman (b. 1958) *Sara Davis Beuchner (b. 1959) *Stephen Prutsman (b. 1960) *Paul Stewart (b. 1960) *Sergei Babayan (b. 1961) Casadesus (1st), Hamamatsu (1st), Scottish (1st), Busoni (3rd), Honens (4th) Stephen Hough (b. 1961) Jean-Yves Thibaudet (b. 1961) *Frederic Chiu (b. 1964) *Pavel Nersessian (b. 1964) *Alexander Korsantia (b. 1965) Sydney (1st) Rubinstein (1st) Leif Ove Andsnes (b. 1970) *Stanislav Ioudenitch (b. 1971) Evgeny Kissin (b. 1971) Arcadi Volodos (b. 1972) Nikolai Lugansky (b. 1972) Simone Dinnerstein (b. 1972) Valentina Lisitsa (b. 1973) *Antonio Pompa-Baldi (b. 1974) Long-Thibaud (3rd), Cleveland (1st), Cliburn (2nd) Ning An (b. 1976) *Roberto Plano (b. 1978) American Prize, Cleveland (1st), Cliburn (finalist) *Andrius Žlabys (b. 1978) “There is no better time to do the best work of your life than right now” Spencer Myer (b. 1978/9) Sa Chen (b. 1979) Alexander Kobrin (b. 1980) Alexandre Moutouzkine (b. 1980) Yundi Li (b. 1982) Lang Lang (b. 1982) *Boris Giltburg (b. 1984) (Beethoven Sonatas) Santander (2nd=1st), Queen Elisabeth (1st), Rubinstein (2nd) Evgheny Bozhanov (b. 1984) Cliburn (finalist), Queen Elisabeth (2nd), Chopin (4th-refused) Ingolf Wunder (b. 1985) *Rafał Blechacz (b. 1985) Chopin (1st) *Yeol Eum Son (b. 1986) Tchaikovsky (2nd) Vadym Kholodenko (b. 1986) *Vitaly Pisarenko (b. 1987) Liszt (1st), Leeds (3rd) Adam Golka (b. 1987) Yuja Wang (b. 1987) *Sean Chen (b. 1988) American Prize, Cliburn (3rd) *Yekwon Sunwoo (b. 1989) Sendai (1st), Cliburn (1st) *Charles-Richard Hamelin (b. 1989) Seoul (3rd), Montréal (2nd), Chopin (2nd) *Haochen Zhang (b. 1990) China Piano Competition (1st) Avery Fisher Grant, Cliburn (1st) *Claire Huangci (b. 1990) ARD Munich (2nd), Geza Anda (1st) *Lukas Geniušas (b. 1990) Bachauer (1st), Scottish (2nd), Chopin (2nd), Tchaikovsky (2nd) *Daniil Trifonov (b. 1991) Chopin (3rd), Rubinstein (1st), Tchaikovsky (1st) (also composer) *Kenny Broberg (b. 1993) Cliburn (2nd), Tchaikovsky (3rd), American Prize *Beatrice Rana (b. 1993) Montréal (1st), Cliburn (2nd) *Seong-Jin Cho (b. 1994) Hamamatsu (1st), Tchaikovsky (3rd), Rubinstein (3rd), Chopin (1st), DAEWON Music Awards *Kate Liu (b. 1994) NY International (1st), Hilton Head (6th), Montréal (finalist), Chopin (3rd) *Do-Hyun Kim (b. 1994) Gilmore Fellow, Vendome (2nd), Young Concert Artist Auditions (1st) Drew Peterson (b. 1994) American Prize, Avery Fisher Grant,  *Syzmon Nehring (b. 1995) Rubinstein (1st) *Eric Lu (b. 1997) Minnesota E-Comp. (1st), Chopin (4th), German Piano Award (1st), Leeds (1st) Tony Yike Yang (b. 1998) Chopin (5th-age of 16!) *Alexander Malofeev (b. 2001) China (1st), winner of youth competitions…career exploded (a la Kissin)

L'immense baryton allemand enregistre un disque consacré à Wagner, Pfitzner et Strauss avec le pianiste Seong-Jin Cho. Copyright Photo : Marie Staggat

L'immense baryton allemand enregistre un disque consacré à Wagner, Pfitzner et Strauss avec le pianiste Seong-Jin Cho. Copyright Photo : Marie Staggat

durée : 01:58:12 - PAD 22 AVRIL - A retrouver ce matin : les quatuors avec piano de Mozart et Żeleński édités par l'Institut Frédéric Chopin, le nouvel album de lieder du baryton star Matthias Goerne enregistré aux côtés du pianiste Seong-Jin Cho, un extrait du Clavier Bien Tempéré par le consort de violes Phantasm...

Muzika, atliekama uDiscovermusic.com išrinktų mėgstamiausių pasaulyje klasikinės muzikos atlikėjų - Davido Garretto, Katherine Jenkins, Seong-Jin Cho, Yuja Wang ir kitų.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis

24. Dezember 1848. Heiligabend. Robert Schumann notiert in sein Tagebuch: »Waldscenen – Abends Bescheerug – Sehr heiter« Um diese »Waldszenen« geht es im heutigen Podcast - die virtuelle Konzert Einführung der Kölner Philharmonie zum Auftritt von Seong-Jin Cho am 28.09.2020, 20:00 Uhr. https://www.koelner-philharmonie.de/de/programm/seong-jin-cho-schumann-schubert-chopin/380 Foto Seong-Jin Cho ©Holger Hage

The 26-year-old pianist Seong-Jin Cho had two dreams: To play with the Berlin Philharmonic Orchestra and to play at Carnegie Hall. Both dreams have already come true. In this episode of the Deutsche Grammophon podcast series hosted by Berlin Philharmonic horn player Sarah Willis you can find out more about the young pianist, his lifestyle and his new album “The Wanderer” with music by Schubert, Liszt and Berg.

durée : 01:55:49 - En pistes ! du mercredi 24 juin 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme également : la 7ème symphonie de Mahler par le Minnesota Orchestra sous la baguette d'Osmo Vänskä; les oeuvres symphoniques de la compositrice Louise Farrenc; la Wanderer Symphonie au coeur du nouvel album du pianiste coréen Seong-Jin Cho... - réalisé par : Davy Travailleur

durée : 00:12:24 - Le Disque classique du jour du mercredi 24 juin 2020 - De la fougue et de l'emportement dans le dernier disque du pianiste coréen qui réunit la Wanderer Fantaisie de Schubert et les sonates de Liszt et Berg.

Auf seiner vierten CD verknüpft der Pianist Seong-Jin Cho Cho Werke von Franz Liszt, Alban Berg und Franz Schubert zu einem Album unter dem Motto "The Wanderer".

Please, read this. Hello. If the podcast was helpful for you, I ask you to give some money to a charity. I truly believe we can make a better world with less cynicism and egoism. You can handle several days without coffee. However, that money REALLY can help. Even a few dollars. Where to send and how much is only on you. Children, nature, homeless people. All problems are more real and nearer than you think. Just be a good person. Be a real hero. Peace. My podcast about WEB Development. Check it out if you are interested. Apple Podcasts Spotify Google Podcasts Castbox Mvt 1 - 00:30 Allegro Mestoso Mvt 2 - 21:20 Romanze - Larghetto Mvt 3 - 30:40 Rondo - Vivace

Seong-Jin Cho makes his Pittsburgh Symphony Orchestra debut with the Piano Concerto No. 2 by Franz Liszt.  WQED-FM's Jim Cunningham sat down with the pianist to talk about the piece, working with the Pittsburgh Symphony, and much more.    

About this Performance: The fast-rising Korean star pianist plays Rachmaninoff's ultra-Romantic concerto, and Dudamel leads Stravinsky's game-changing ballet score with its complex yet primitive-sounding rhythms. Program: RACHMANINOFF Piano Concerto No. 2 STRAVINSKY The Rite of Spring   Artists: Los Angeles Philharmonic Gustavo Dudamel, conductor Seong-Jin Cho, piano

Sean Rafferty presents the very best of the last week on In Tune, including live performnces from pianist Seong-Jin Cho, jazz guitarist Jim Mullen, and renowned Barcelona choir Orfeó Català, plus an interview with soprano Christine Goerke.

This week, the thing Jordan and guest host Bill Porter love about baseball is "the switch!" (Coach Dave and Nick Lerangis are off this week.) "The switch" is moment in August when we go from the doldrums of summer baseball to the excitement of the stretch before the playoffs. (Don't worry if you haven't heard of the switch before; Bill made it up.)We also talk about Derek Holland's noble and most likely misguided butthurtedness on Twitter, why PECOTA is always right and you should never be excited about anything, and the umpteenth rise of the Dark Knight, Matt Harvey.Our Other Baseball Podcast of the Week is The Ringer MLB Show! Michael Baumann hosts, and Zach Kram and Ben Lindbergh are his most frequent guests. It's a wonderful, insightful show and they're some of our favorite baseball people. Follow Michael, Zach, Ben, and the Ringer on Twitter, and subscribe!Thanks as always to the great @drawawalk for our artwork.(Btw, I said Billy Hamilton had 12 stolen bases this season; he actually had 18.)Stuff we talked about:Seong-Jin Cho performing a piece from Debussy's Children's Corner suiteFleabag on Amazon PrimeA great piece about Billy Hamilton for The AthleticLinks:Leadoff Grand Slam on TwitterLeadoff Grand Slam on Apple PodcastsLeadoff Grand Slam's Website(Recorded 8/18/19)

Si ricorda DeAndré e il suo rapporto con la musica classica. Poi la recensione de "La Traviata" al Teatro alla Scala (di Luca Chierici). Intervista a Cristina Frosini e Alessandro Bombonati del Conservatorio di Milano per la presentazione della Orchestra Sinfonica del Conservatorio (di Michele Coralli). Recensione del K466/Deutsche Grammophon di Seong-Jin Cho (di Vittorio Bianchi).

Si ricorda DeAndré e il suo rapporto con la musica classica. Poi la recensione de "La Traviata" al Teatro alla Scala (di Luca Chierici). Intervista a Cristina Frosini e Alessandro Bombonati del Conservatorio di Milano per la presentazione della Orchestra Sinfonica del Conservatorio (di Michele Coralli). Recensione del K466/Deutsche Grammophon di Seong-Jin Cho (di Vittorio Bianchi).

Si ricorda DeAndré e il suo rapporto con la musica classica. Poi la recensione de "La Traviata" al Teatro alla Scala (di Luca Chierici). Intervista a Cristina Frosini e Alessandro Bombonati del Conservatorio di Milano per la presentazione della Orchestra Sinfonica del Conservatorio (di Michele Coralli). Recensione del K466/Deutsche Grammophon di Seong-Jin Cho (di Vittorio Bianchi).

Reigning Chopin Competition winner and piano superstar Seong-Jin Cho joins us for a preview of his latest album on Deutsche Grammophon, dedicated to the music of Mozart. On the disk is soulful and expressive renderings of Mozart's Piano Concerto No. 20, alongside two very different piano sonatas: No. 12 in F Major, and No.3 in Bb Major. Joining Seong-Jin for the concerto is Metropolitan Opera Music Director Yannick Nézet-Séguin and the Chamber Orchestra of Europe.

Reigning Chopin Competition winner and piano superstar Seong-Jin Cho joins us for a preview of his latest album on Deutsche Grammophon, dedicated to the music of Mozart. On the disk is soulful and expressive renderings of Mozart's Piano Concerto No. 20, alongside two very different piano sonatas: No. 12 in F Major, and No.3 in Bb Major. Joining Seong-Jin for the concerto is Metropolitan Opera Music Director Yannick Nézet-Séguin and the Chamber Orchestra of Europe.

Approfondimenti su "Secondo me, Napoli" di Alessandro Cerino e "Milano fantastica" di Vanni Moretto. Intervista ad Azio Corghi per i suoi 80 anni. Parti dei Concerto di Lukas Geniusas per Società dei Concerti e di Seong-Jin Cho e la Filarmonica della Scala diretta da Chung.

Approfondimenti su "Secondo me, Napoli" di Alessandro Cerino e "Milano fantastica" di Vanni Moretto. Intervista ad Azio Corghi per i suoi 80 anni. Parti dei Concerto di Lukas Geniusas per Società dei Concerti e di Seong-Jin Cho e la Filarmonica della Scala diretta da Chung.

Approfondimenti su "Secondo me, Napoli" di Alessandro Cerino e "Milano fantastica" di Vanni Moretto. Intervista ad Azio Corghi per i suoi 80 anni. Parti dei Concerto di Lukas Geniusas per Società dei Concerti e di Seong-Jin Cho e la Filarmonica della Scala diretta da Chung.

Learn how the result of a piano competition had the power to shock an entire nation. The International Chopin Piano Competition takes place every five years and brings the most talented pianists from around the world to Warsaw, Poland. The one rule for the competition, as its name would suggest, is that pianists may only play the works of Frédéric Chopin. These types of competitions have an unfortunate reputation of being elitist and uptight, but, as you will learn, that could not be further from the truth in this instance. In this episode, we bring you the story of the 1980 edition of the Chopin Competition and why it was one of the most contentious in recent memory. We’ll also tell you the fascinating story of Ivo Pogorelić, the most interesting yet controversial pianist you’ve probably never heard of. Finally, we’ll attempt to answer some of the difficult questions that the event raises about classical music and the nature of art competitions. Like our show? Sign up for our newsletter! Time stamps [03:30] The origins and background of the International Chopin Piano Competition [06:04] Who is Ivo Pogorelić and what makes him so controversial? [08:36] Should Chopin’s music be interpreted subjectively or objectively? [09:50] Ivo’s playing style [13:00] What happened that made this competition so contentious? [15:04] Who won the competition? [16:55] The aftermath of the competition [18:02] Can we judge someone’s interpretation of a piece of art? [20:39] Why do we even have competitions? Further reading The Frederic Chopin Institute / official website The Riot Police at the Philharmonic & Other Scandalous Histories of the Chopin Piano Competition / on Culture.pl 4 Winners of the Chopin Competition Who Became Superstars / on Culture.pl It's getting better and better. An Interview with Dang Thai Son /  on Culture.pl A Foreigner’s Guide to the International Chopin Competition / on Culture.pl Ivo Pogorelić / on Wikipedia Dang Thai Son / official website Further listening  Frederic Chopin Institute YouTube Channel / interviews with experts who appeared in the episode and lots of performances from various editions An interview with Garrick Ohlsson / on the Chopin Institute's YouTube channel An interview with Nelson Goerner / on the Chopin Institute's YouTube channel An interview with Kate Liu / on the Chopin Institute's YouTube channel Ivo Pogorelich Chopin Polonaise op.44 Ivo Pogorelich Chopin Ballade No.2 Ivo Pogorelich Chopin Etude Op. 25 No.6 Ivo Pogorelich Chopin Piano Sonata No.2 Mvt I Ivo Pogorelich Chopin Piano Sonata No.2 Mvt. IV Dang Thai Son Chopin Concerto No. 2 Dang Thai Son Chopin Nocturne No. 2 Op. 62 Performances we used in this episode Szymon Nehring, Etude in A minor Op. 25 No. 11 (first stage of the 2015 competition) Ivo Pogorelich, Chopin Piano Sonata No.2 Mvt 1 (1980 competition) Seong Jin Cho, Chopin  Sonate B flat minor Op. 35 (second stage of the 2015 competition) Dang Thai Son, Chopin Nocturne in E Op.62 (1980 competition) Thanks Frederic Chopin Institute / for all their help and allowing us to use their rich archives. Paweł Kamiński / professor at Fryderyk Chopin Warsaw University, who kindly allowed us to interview him. Christine Jezior / director of the stunning documentary Why Competitions for sending us a copy of the film and allowing us to use it in the show.

2015 gewann mit Seong-Jin Cho erstmals ein Koreaner den Warschauer Chopin-Wettbewerb, einen der weltweit berühmtesten und schwierigsten Klavierwettbewerbe. Seitdem spielt er Konzerte auf der ganzen Welt. Nun ist der Pianist erstmals in München zu erleben - natürlich auch mit Werken von Chopin.