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Beethoven’s sonatas, rhythmic and full of energy


Diverse sound register

“Pianist Hie Yon Choi plays a Beethoven based on strong contrasts. Distinctive accents and different sound registers of the concert grand characterize the sound. The energy with which the artist goes to work is immediately apparent in the early C minor Sonata, Op. 10 No. 1.  The rhythmic conciseness of the first theme with the widely spaced tonal leaps and the rhythmic disruption come into their own. The semiquavers move like floating butterflies in the cantabile second movement, which the pianist creates with wonderful timbres.

The prestissimo of the finale in its development already points to the drama and the themes of the last piano sonata op. 111. In this, HieYon Choi unfolds an impressive world of sound in which the composer’s defiance of the disturbingly described fate becomes all too clear. The polyphonic entanglements of the wild and impetuous first movement reflect this vividly.

Theme unfolds

The pianist plays the tender Arietta from Beethoven’s last sonata movement rather “semplice” and less expressively. In the variations that follow, however, she unfolds this theme with increasing intensity. With the concise rhythmic dotting and the consistently sustained syncopation, the theme of the Arietta undergoes a transformation that increases in the trills and cascades of sound to the point of transcendence, before at the end the composer’s “reunion” sounds several times as a farewell call in the characteristic downward dotted fourth. The audience’s prolonged silence was the best applause for this deeply moving performance.”

Christoph Keller [Nordwest Zeiting] Juli-2022



Pastoral, Passionate

“…The powerful dynamic, especially in the final movement, made the audience rise above themselves…. The performer closed the New Year’s concert of The House Concert with absolute overwhelming coda of the Appassionata. And she gave us all in the hall, the energy, courage, and hope to live the year 2022 vigorously... It will need quite a long time till the echo of this concert would diminish.”

Jin-Suk Kim, pianist

[Music Journal] Feb-2022



Beethoven captivated in Bagband

“…Her appearance was the „Hammer“ (‘awesome’ in German slang) – in the true sense of the word itself….”

Karen Hochmuth

[Ostfriesische Nachrichten] Juli-16-2017



As if Beethoven Himself Sitting at the Piano

“… Eyes closed; you would believe that the honorable composer himself would have sat at the piano.….”

Ina Wagner

[Emder Zeitung] Aug-13-2015



A Wild Fury over All Keys

Spectacular Experience of Highest Art of Piano

Roland Moll

[Ostfriesischer Kurier] Aug-13-2015

COVER STORY 음악저널 2021/11
COVER STORY 객석 2013/03

Radiant Happiness after Perfect Presentation

“…The magical, almost elegiac parts were contrasted with the thundering fortissimo in orchestral sense which seemed to quake the church walls.….”

Roland Moll

[Ostfriesen-Zeitung] July-27-2009



Petitessen and Reger’s Opus Magnum

her strong suit lies no doubt in the virtuosic passages which she mastered with impressive technique powerful and leap-sure, but also with insight for the inner thematic structure… ”                         

Andrea Prölss

[Der neue Tag] Oberpfalz, Aug-15-2007



Adamant rhythm with intensity, explosive and passionate touch

“…HieYon Choi possesses rigorous craftsmanship to offer a stage of the highest quality… Her pure approach towards music is the strongest power to win over the audience…”

Sang-Woo Han

[Monthly Joy Classic] May-2002 

COVER STORY 피아노음악 2011/11

Examination in marks of Mozart

“..The realization of Mozart A Major Concerto KV 488 by Hie-Yon Choi: a high-spirited, full of sentiment, eloquent up to every detail and precisely formulated interpretation, in the sovereign and at the same time reserved manner (as if perceived the spirituality of young Clara Haskil itself), besides without any perfectionistic attitude…” 

Hans-Klaus Jungenheinrich

[Frankfurter Rundschau] Sep-3-1997



A freshness coming from Korea

“… full of freshness and spontaneity who incidentally drew us to the spirit of Clara Haskil,….”

Aime Corbaz

[Le Matin] Sep-1-1997

Charm and Originality

“…Hie-Yon Choi broached dramatic peaks and unleashed impetuous storms with her superb phrasing and unfailing technique….”

Norry Goedert

[Luxemburger Wort] Oct-24-1996



Young Pianist enthralled

“….The climax was Skriabin’s 5th Sonata. Hie-Yon Choi entered into another world as she created a magical tone color on the piano.”


[Neue Rheinische Zeitung] Oct-15-1996



Thriller after Notes

“…It was overwhelming how this Korean held the audience under her spell with her maturity and diversity of interpretation. Hie-Yon Choi possesses faultless technique, sparking ease and fascinating virtuosity….”

Daniela Goebel

[Darmstädter Echo] Jan-30-1995



14th International Piano Competition

“..Hie-Yon Choi, the south Korean, possessed a temperament of fire, full of power and character, which entirely seduced the audience…”


[Liberte de l’est] Mar-29-1993



Kapell Finalists’ Choice Music

“…A brisk reading of Beethoven’s B-Flat Sonata, Op. 22, and Ravel’s “Gaspard de la Nuit” showed Choi capable of flexible, supple playing. She had lovely rich tone, with some beautiful shading….”

Kate Rivers

[The Washington Post] July-18-1992

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