Pastoral, Passionate

By Jin-Suk Kim

Music Journal, February 2022

New Year’s Concert 2022 The House Concert by Pianist HieYon Choi

I told to my acquaintance about the concert a night before, “the specialty of well-seasoned main chef at the top restaurant”. His eyes sparkled as if he understood. In fact, my words failed to express highest praise […]

Appeared in steps, neither heavy nor light and bowed like flapping of wings, HieYon Choi was right away absorbed in the first sonata, in f minor, Op. 2-1. Different from usual concert venue, this place, the main venue of The House Concert offered greater resonance coming from the vibration of the wooden floor. HieYon Choi serenely delivered a lot of inner stories through outstanding phrasing. The unique Beethoven-aesthetic stood out even under the balance and restraint and the powerful dynamic run especially in the final movement made the audience rise above themselves.

Following the opening of Sonata No. 1—which fittingly marked the symbolism of a New Year’s concert—the performer continued with the Sonata No. 15 in D major, known as the “Pastoral.” Whether or not Beethoven himself intended the subtitle, the performer evoked pastoral beauty in the first movement through the steady pulse of the left hand’s quarter notes. Without any need to dominate the stage, her solid technique—rooted in deep artistic maturity—allowed each motif to build with precision, ultimately culminating in a powerful and radiant sense of joy.

The next piece was the Sonata No. 6 in F major, Op. 10 No. 2. Although the “Pastoral” Sonata had just been performed, it felt as though we were experiencing yet another pastoral scene—not merely because our ears are accustomed to hearing the No. 6 Pastoral Symphony follow the No. 5 Fate Symphony. The performer seemed to possess no limits in musical expression, unfolding an inner landscape of Beethoven with remarkable vividness.

Already 60 minute-journey was done without break and yet the final piece was “Appassionata”. She was not tired even when she reached its final movement passing through the passionate first movement which took the breath of the audience and the second movement of the thick lyrics. The performer closed the sonata and thus the New Year’s concert of The House Concert with absolute overwhelming coda. And she gave us all in the same space the energy, courage and expectation to live the year 2022 vigorously.

Then I finally understood the intention of this artist to complete a grand epic poem by omitting the intermission and I could not agree more. It will need quite a long time till the echo of this concert would diminish.