Gramophone's Review

The South Korean pianist Yeol Eum Son (b1986) is already something of a veteran, having performed with the New York Philharmonic and Lorin Maazel all of 14 years ago. She also recorded a disc of Chopin’s Études at the same time, although it seems not to have achieved international release.

Thus this collection of works by Mozart in C (major and minor) becomes her calling card, as well as being the last recording of Sir Neville Marriner. The first impression is a reminder of what a stylish Mozartian the late conductor was, his Academy musicians rolling out a plush carpet for Son’s entrance in the ubiquitous K467. Son is clearly her own woman, however, with a broad dynamic palette and a keen awareness of style; the documentation doesn’t identify the composer of the lead-ins and cadenza so one presumes they are by Son herself. She takes care not to grandstand, blending well with the orchestra in a closely recorded acoustic. Tempos are apposite if a fraction of a notch down from the current fashion in the outer movements; the central Andante is romantic in the best sense, without cloying.

Son’s wide dynamic range pays dividends too in the solo works: a sonata, a variation set and the C minor Fantasy. Everything is minutely thought-out; and that might appear to be the only caveat on this beautifully considered and immaculately played disc. Son’s care for contrast and continuity can come to seem too well planned, robbing the music of the last ounce of spontaneity that is such a major part of the success of recordings by the likes of Pires or Anderszewski (the list could go on). Surely that will come in time; nevertheless, this is an uncommonly fine Mozartian debut.

David Threasher

Piano Concerto No 21 – selected comparisons: Pires, COE, Abbado (2/96) (DG) 439 941-2GH Anderszewski, Sinf Varsovia (4/02) (VIRG/ERAT) 545504-2