Jeonghwan showed us why he was the winner of the Sydney International Piano Competition in a performance at the Sydney Conservatorium of Music that had lyricism and explosive virtuosity in equal measure. Jeonghwan reprised some of the pieces that he chose to play in the preliminary stages of the Piano competition. He has consistently proven himself over six recitals in the three weeks of competition which included solo recitals, chamber music and playing with the Sydney Symphony Orchestra. Jeongwhan has been awarded a cash prize of $50,000 and performance engagements here in Australia. Piano+ will also be releasing a recording by Jeongwhan next month.

The selection for the recital included significant examples of the Piano repertoire, including Beethoven and Robert Schumann from the Romantic Period and modern composers, Bela Bartok, Sergei Prokofiev and Olivier Messiaen. There was a range of emotions evident here in the works from brooding to lively and playful. It was a chance for the Sydney audience to see Jeongwhan as an autonomous artist. After he introduced himself, he announced his intention to change the program and include Bartok’s Piano Concerto no. 2 and ‘wait to see’ if he felt like playing the excerpt from Messiaen’s Contemplations on the Infant Jesus.

Four of the pieces played tonight by Joengwhan had their origins in reflections about war and a divided Europe.  The recital began with a slow and poignant descent into the Farewell Sonata by Beethoven. This piece was written while Vienna was under siege from Napoleon’s army and the piece is dedicated to Archduke Rudolph who had to flee the city. Something about Jeonghwan interpreting the absence and longing in this piece, which became a bridge to the introspection of Prokofiev’s no. 6 which was composed between 1939 and 1940. It was originally written as a memorial to his close friend composer Nikolai Cherepin who passed away in 1941. With the strident theme of the opening bars, the composition builds in intensity, with sudden turns and shifting harmonies. It is a piece that showcases virtuosity of technique, but Jeonghwan was also able to find in Prokofiev’s approach a quirkiness and wit.

Joenghwan reprised his finals performance of Bartok’s Piano Concerto No. 2, a modern piece composed during the 1930s. As a solo piece, the grandiosity and sweep of the original orchestration had changed into something more urgent, bursts of energetic rhythms in a barely controlled march toward the unknown. He did finally conclude the concert with the Messiaen performed as the encore. Contemplations on the Infant Jesus, was written while the composer was held captive by the Germans as a prisoner of war, during World War Two. Jeonghwan’s playing honoured its spiritual theme, and vibrant harmonies in his playing to rapturous applause.

I would also like to mention the Jeongwhan’s inclusion of the Four Night Pieces by Schumann. These were written as Piano miniatures with the very evocative titles of ‘Of Foreign Lands and People’, ‘The Lonely Flowers’, ‘The Bogeyman’ and ‘Whims’. Joengwhan’s faithful and unprepossessing playing communicated perfectly the romantic spirit of individuality and feeling. After the drama and noise of the competition, tonight was also about being able to appreciate the quiet beauty of the music.

PROGRAM

Ludwig van Beethoven: Piano Sonata No.26 in E♭ major Op.81a Les Adieux

Sergey Prokofiev: Piano Sonata No.6 in A major Op.82

– INTERVAL –

Robert Schumann: 4 Nachtstücke Op.23

Frédéric Chopin: Berceuse in D♭ major Op.57

Olivier Messiaen: (from Vingt Regards sur l’Enfant-Jésus) No.10 Regard de l’Esprit de joie

Belated inclusion after the Chopin:

Béla Bartok: Piano Concerto No. 2 in G major Sz.95

Production photography by Jay Patel

Review by Elizabeth Surbey (with Patrick Hobbs)