5 Haziran 2019 Çarşamba

Sergei Prokofiev: Piano Concerto No.3 in C major – Irene Kim, Kaleidoscope Chamber Orchestra (HD 1080p)

Music Archive Haziran 05, 2019 Irene Kim, Kaleidoscope Chamber Orchestra, Sergei Prokofiev

Accompanied by the Kaleidoscope Chamber Orchestra, the American pianist Irene Kim performs Sergei Prokofiev's Piano Concerto No.3 in C major, Op.26. The concert was recorded at Musco Center for the Arts, Chapman University, Orange, California, on February 24, 2019.

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For his Third Concerto for piano and orchestra, Prokofiev looked to the past for inspiration: this concerto incorporates material derived from sketches made between 1911 and 1918. The first movement contains two themes that were written in 1916, plus a chordal passage first sketched in 1911; the second movement contains a theme and variations that was written in 1913, while the final movement uses thematic material from a discarded string quartet begun in 1918. When he began composing this concerto during a holiday in Brittany, Prokofiev wrote, "I already had all the thematic material I needed except for the third theme of the finale and the subordinate theme of the first movement".

The Third Piano Concerto is perhaps Prokofiev's best known essay in this genre, and approaches Tchaikovsky and Rachmaninov in popularity and frequency of performance. Its opus number places it just after the "Classical" First Symphony of 1917, and the concerto is, in its way, similar to the First Symphony is a number of ways: both works are lively, acerbic, with brilliant orchestration and a certain transparent texture. Both pieces are also clearly the work of a deft young composer of considerable technical skill; however, the two works differ greatly in regards to their reception. The "Classical" Symphony was reasonably well received in Russia, where it was performed only once before Prokofiev emigrated to the United States. Subsequent performances of the symphony in America were very successful. The Third Concerto, on the other hand, did not fare so well, and after a good premiere in Chicago (along with the opera Love for Three Oranges) in 1921, the work was roundly denounced in New York.

The Concerto displays much of the "harmonic liveliness", in Nancy Siff's words, of the mid-period symphonies, with its sudden shifts from key to key and chromatic harmony. The sophistication and bravura generally associated with Prokofiev's music is ever present, as is the humor found in many of his orchestral works. The Concerto is in a traditional three-movement concerto form (the only one of Prokofiev's five piano concertos to use the traditional form), beginning and ending with fast movements that flank a slow middle movement. Each movement is about the same length, and the thematic weight and interest is distributed evenly throughout the movements. The work begins with a vivacious opening movement, which includes a humorous march underlined by castanets, followed by the five variations of the second movement, and concludes with a grandiose display of colorful harmonies and virtuosic orchestration. The solo writing for the piano is also virtuosic, and at times quite percussive.

Source: Alexander Carpenter (allmusic.com)

Sergei Prokofiev (1891-1953)

♪ Piano Concerto No.3 in C major, Op.26 (1921)

i. Andante – Allegro
ii. Tema con variazioni
iii. Allegro, ma non troppo

Irene Kim, piano

Kaleidoscope Chamber Orchestra

Musco Center for the Arts, Chapman University, Orange, California, February 24, 2019

(HD 1080p)

American pianist Irene Kim has been praised for her "vitality and charm" and "authoritative inevitability" by the Peninsula Review and her "superior technique and delicate sensibility" by the Korea Times. Her performances have been heard across North America and Europe in recitals, chamber ensembles, and as a soloist with the Washington Youth Orchestra, Los Angeles Korean Chamber Orchestra, Rio Hondo Symphony, Southwestern Youth Music Festival Orchestra, and repeat performances with the Young Musicians Foundation Orchestra.

Having garnered the Franz Liszt First Prize in the Liszt-Garrison International Young Artist competition and top prizes in the Carmel Music Society, Korean Concert Society, Yale Gordon Concerto, and Russell C. Wonderlic competitions amongst others, she gave subsequent performances at venues such as the Kennedy Center, Wilshire Ebell Theatre, Dorothy Chandler Pavilion, Centro Cultural del Antiguo Instituto, Luckman Theatre, and the Library of Congress. Irene has also made appearances at the Banff Centre for the Arts Festival, Gijón International Piano Festival, Piano Festival Northwest, Seminars at the Colburn School, Columbia Chalice Concert Series, An die Musik Live, American Liszt Society Conferences, and also as a member of the Young Artists Guild.

As a musician of curiosity, Irene has collaborated extensively, most notably with vocalists, cellists, violinists, and percussionists. She tours frequently with violinist Benjamin Hoffman as brightfeather, appearing in recitals from the New England area to Florence, Italy to enthusiastic audiences. Continuously piqued by the music and art of her contemporary surroundings, she has recently taken on projects with living composers, premiering works, and collaborating with visual artists and dancers. Irene's other interests have led her to train as a conductor and also as a piano technician assistant at the Peabody Institute. She finished an internship with the Domingo-Cafritz Young Artist Program at the Washington National Opera and the Kennedy Center for the Performing Arts. Her love for cinematography has led to projects of setting mixed media to music. Taking after her architect father, Irene is thoroughly interested in the acoustical designs of theatres and music halls.

Irene was born and raised in Los Angeles and began musical studies at age three with her mother. By age five, she was accepted into the distinguished and influential studio of Ick-Choo and Hae-Young Moon, where her formative training was established. At age eight, she made her orchestral debut with the Young Musicians Foundation Orchestra.

Irene's professional training has been centered at the Peabody Conservatory, where she recently received her Doctorate in Musical Arts. She was awarded the Albert and Rosa Silverman Memorial Scholarship, the Lillian Gutman Memorial Piano Prize, and Clara Ascherfeld Award by the Conservatory for her musical endeavors during her studies there. Her mentors and teachers, Marian Hahn and Boris Slutsky, have been infinitely inspiring in the impartation of their passion for the art of musicianship.

In the course of her musical erudition, she also has had the honor to work with and receive precious insight from various distinguished musicians, including Leon Fleisher, Anton Kuerti, Robert McDonald, Ani Kavafian, Alexander Toradze, and Robert Van Sice amongst others.

Irene is an avid believer that the arts are a manifestation of humanity and its creativity and aspires to let music travel to where its resounding compassion is much needed.

Source: irenekimpianist.com