Testament in Echo
It has been a year since my complete Beethoven was released. Besides the public reviews in papers and online, some of my respected colleagues sent me their salutes, and I was deeply grateful for their kind and encouraging words. (I could not bring myself to listen to my own recording for quite a while — many of you would know that feeling well.)
Among them, most recently, Roberta Rust, faculty at Lynn University, sent me a thorough review reflecting her insight as a seasoned pedagogue — a kind, distilled introduction to Beethoven’s work too valuable to leave tucked away in a drawer. Out of respect for her musicianship, and with her cheerful consent, I am sharing her review letter below:
Dear HieYon
I had the great pleasure of listening to your complete Beethoven Sonatas recording, TESTAMENT, and treasured the experience this summer. I deeply appreciate your playing of every phrase – what a momentous achievement. I felt there were so many wonderful moments – Op. 2 No 1, and Op. 10 No. 3 were stand-outs for me among the earlier sonatas and the 3rd movt. of Op. 13, with it’s combination of sadness and whimsy, was revelatory. You create the impression of string quartet playing in Op. 14 No. 1 with clear beauty and emotive feeling that respects the boundaries of the style. Op. 14 No. 2, with the pure liquid legato you achieve is a delight. The deep meaning of the music is grasped in the slow movt. of Op. 22 and you deliver such heavenly playing in Op. 26. Your Moonlight Sonata performance is imbued with an unearthly spirit in the 1st movt. and the tempo in the Minuet is lovely and creates space. The re-transition in the opening movt. of Op. 28 is excellently timed, especially in the phrase just before the recap. Op. 31 No. 2 has emotional strength in the 1st movt. and storminess in movt. 3. I think one of the most challenging movts. in these sonatas interpretively is the Minuet in Op. 31 No. 3, and you play it with a holy simplicity. Op. 49 No. 1 is precious and the fermata in movt. 1 of Op. 57, just before the coda, is held long enough to delineate the structure in such an effective way. You have a welcome and fresh view of Op. 90, immediacy in the 1st movt. and the leisurely tempo of movt. 2 gives the music the space it needs to be cantabile (especially the two-note pick-up). I love the trio sections of both second movts. in Op. 101 and Op. 106, and your transition to the 4th movt. in Op. 106 is masterful in creating anticipation and an improvisatory effect. The 4th movt. is impressive – you make it sound easy! The 1st movt. of Op. 110 is glorious and the 2nd fugue (inversion) of the closing movt. is exquisite. I respect the momentum in the tempo you chose in the opening of Op. 111 – it allows for the transition to the Allegro con brio to develop perfectly and the closing section of the second movt., when the theme appears high in the register, is absolutely magical. There are many more magnificent moments in your accounts of the sonatas – I could go on and on easily.
Sending you biggest congratulations on your Beethoven Piano Sonata discography. I hope all’s been going well with you and wish you the very best this coming academic year. Hope our paths cross again one day.
With warmest wishes and deepest respect
Roberta
www.robertarust.com