On Wednesday, December 28, Hyeyoung Song gave a sold out concert at the Weill Recital Hall at Carnegie Hall.  Presented by the Weatherford College, this concert served as a finale to her tour which included stops in Europe and in South Korea, her native land.

The concert began with a set of three Bach transcriptions by Kempff, Busoni and Petri.  Of the three, Busoni is most well-known for his Bach transcriptions and compositions.  The first two selections which are from Bach’s sacred cantatas, seemed quite suitable for the concert since Christmas was celebrated just three days before the concert.  The opening piece, Sinfonia from Bach Cantata(BWV 29), “Wir danken dir, Gott, wir danken dir”(“We thank you, God, we thank you”), transcribed by Kempff, is a lively piece full of octaves, scales runs and broken chords.  Performed in 1731, Bach scored this piece for the organ, the baroque orchestra and a basso continuo.  Ms. Song gave a colorful account of this piece and made the piano sound like the orchestra.  Perhaps due to the technical demands on the piano, I thought the tempo was slower compared to the original version performed on the organ.

The last two transcriptions from the set are more well-known. The second piece, 4th movement from Bach Cantata(BWV 140), “Wachet auf, ruft uns die Stimme”(“Awake, The Voice Command”) transcribed by Busoni, originally scored for two violins, tenor and a continuo, has a prominent tenor singing a text, “Zion hört die Wächter singen” (Zion hears the watchmen singing).  The third piece, “Schafe können sicher weiden”(“Sheep May Safely Graze”) transcribed by Petri, is originally an Aria from Bach Cantata, BWV 208.  First performed in 1713, “Sheep May Safely Graze” is originally scored for the soprano, two recorders, and a continuo.  In both of these selections, Ms. Song did a fine job of bringing out the tenor part in the second piece(“Awake, The Voice Command”) and the soprano part in the third piece(“Sheep May Safely Graze”), while keeping a steady tempo in the accompaniment.  She is a keen listener who is aware of the voices and their movements.  “Sheep May Safely Graze” was tender, calm, graceful and gentle.

Following the recital tradition of a baroque to classical order in the first half of the program, Ms. Song moved on to Beethoven’s “Appassionata Sonata”, Op. 57.  As Beethoven’s more well-known sonatas, she began with a bit of restraint in the first movement, but was eventually able to let go and play with more abandon.  She demonstrated a solid technique and tonal control, especially with the chords that can sound percussive and bangy with a wrong technical approach.

The second half of the program which started with a Debussy set and ended with a piece by Henry Cowell, was like a journey through different genres of music; from French Impressionism to American jazz to avant-garde.  The set of three impressionist pieces by Debussy—two preludes, “Voiles”(Sails), “La cathédrale engloutie”(The Submerged Cathedral) and “L’isle Joyeuse” (The Island of Joy) paved a way for the more contemporary works to follow in the program.  “L’isle Joyeuse” with its jazzy chords and rhythms, would be followed by two Gershwin transcriptions by Earl Wild(“Embraceable You” and “I Got Rhythm”);  both upbeat, Lisztian with fast passages and jazzy rhythm, all of which Ms. Song tackled with flair and showmanship.

The last two pieces, Frederic Rzewski’s “Winnsboro Cotton Mill Blues” from his four North American ballads, and “Exultation” by Henry Cowell were like a drum show; the rumble of the percussion from a distance at the beginning that was gradually approaching, was captivating. I got hooked on the drum, which really was just a piano that she played with her forearm.  The hall was filled with the bright, dissonant and percussive sound of the tone clusters.

Through these different genres of music, Ms. Song showed that she enjoys exploring the sound potential of the piano, whether through pedalling in Debussy, or through forearm clusters displayed in both Rzewski and Cowell’s pieces.  Her playing is warm, expressive, yet powerful.  The last piece was met with a standing ovation and was followed by an encore—another lovely Bach transcription, “Jesu, Joy of Man’s Desiring”transcribed by Myra Hess.

First Prize winner of the Janice K. Hodges Piano Competition, Hyeyoung Song is an active performer who has performed extensively throughout the United States and Korea, noted for her warm and beautiful tone, tireless energy and great musical temperament.

She received her Bachelor’s and Master’s degrees from Ewha Woman’s University where she graduated with highest honors in piano performance, an Artist Diploma from Texas Christian University, and a Doctor of Musical Arts degree in piano performance from the University of Texas at Austin.

Her teachers include Gregory Allen, Jose Mendez, Harold Martina, Tamas Ungar, and Mijai Youn. She has also taken master classes with Anne Schein, Aldo Parisot, Miyoko Lotto, Philippe Bianconi, Benedetto Lupo, Krassimira Jordan, Jose Feghali, Robert Blocker and Richard Cass.

Song lives in Coppell Texas, with her husband and two children. Since 2007, She has been serving as Artist in Residence at Weatherford College, Texas.

Can you tell us about your upcoming program at Carnegie Hall?

I’m happy to have the chance to perform pieces that I have always enjoyed.  My recital program includes a sacred piano transcription by Bach,  “Appassionata” sonata by Beethoven (a composer I feel close to like a soulmate), two Debussy preludes and the ‘Isle of Joy’ (all three pieces related to ‘water’) and modern pieces by American composers such as Gershwin, Cowell, Rzewski…From the profound sacred music of Bach to the secular music of Rzewski who successfully translated through piano the labor movement and social issues of his time.  These are not only pieces I love, but they mean a lot to me, as they reflect my life and the world of music.

Can you tell us about your concert activities this year?

My 2016 world tour included a tour of Europe this past Summer, playing in Paris, in Spain, etc., a tour of Korea this past Fall.  This Carnegie Hall concert is a finale that will complete my tour.

You currently live in Texas. How do you like Texas and what brought you to Texas?

Coming to Texas was like destiny.  I was selected as a scholarship student by a professor from Texas who was doing a tour of Asia while I was in graduate school.  My teacher whom I respect, recommended Texas and gave me guidance, because she knew about the Van Cliburn competition and the high level of music education in Texas.  In addition to the Van Cliburn competition, I was attracted to the fine concert series in Texas, a relaxed cultural environment and the public’s appreciation towards music.  That’s why I came to Texas, so I could immerse myself in piano in such an environment.

I understand that you are also a mother to young children. Is it difficult to find time to practice while raising two children?

Yes, very difficult.  Raising children, ages 6 and 3 and travelling with them is one of life’s greatest adventures.  I have been upset at times because of the restriction in how much I can practice.  I have to look after the children who interrupt me during my practice.  Getting myself at the piano to practice in the middle of the night after a long day and after putting kids to sleep, sometimes feels like a battle.
However, I feel that music and life are inseparable.  A mother raising young children and a pianist are not so different.  I think that giving up for your children’s needs is a process that allows one to mature musically.  Similarly, a life of a performer is a process of giving .  As a musician, I feel that I’m being trained on how to give up myself and to give to others.  Practicing with children at the piano, practicing to the sound of children playing…I perhaps picked up a skill on how to live together with them.
Most of all, my children provide me with inspiration and creative energy, which are very special to me.  I feel that such factors allow me to achieve greater musical maturity.

If it weren’t for piano, what do you think you would have become?

Well, I haven’t given it any serious thought, but I think I would have been an educator or a poet.  I would have done something related to helping children or the disabled; something that would allow me to share the beauty of this world.

What inspired you to become a concert pianist? Were there any challenges that you faced as a pianist? If yes, how did you overcome those challenges?

My mother loved music and since I was young, I had a lot of interest in this unseen world and its beauty.  In middle school, my music teacher played a Verdi Requiem and said: “If people would listen to this kind of music, there would be no sadness brought on by war or division.”  I remember vividly that that was the moment that made me want to devote my life to music.
There were certainly many challenges, but since I can’t think of anything in particular, that probably means that any hardship is overshadowed by the greatness of music and its beauty.  I am thankful and feel blessed for being able to lead a life with music.

Can you name some pianists who have inspired you? Who were some of your influences in your development as an artist?

There are so many great pianists throughout history whom I admire for their unique interpretation and a distinct tone.  As for pianists who are around today, I really admire Radu Lupu and Andras Schiff.  They fully explored the potential of the piano and I feel that they are pianists who overcame it’s deficiencies.

Do you have any advice to give to those who wish to become a professional pianist?

Because music is so great and divine, I believe that it was a gift to mankind to perform and enjoy.  As much as being privileged and blessed to be a musician, I believe that cherishing one’s musical talent and sharing it, is a calling and a responsibility of a musician.  If one realizes how much he or she is blessed, one should be able to follow this path with joy and overcome any handicap or despair.

What does music mean to you? What significance does classical music have in today’s world?

When I was young, music was an absolute necessity to me.  I believed that music was superior to all disciplines including science and art; that it ends war, purifies one’s soul and brings world peace.  Even though we don’t live in a world where a young girl’s fantasy magically turns into reality, I continue to believe in the greatness and the power of music.  Good music allows us to get deeply in touch with our natural selves.  What can be a happier moment for a performer other than communicating and being in contact with an audience?  To me, music is love.

Hyeyoung Song performs on Wednesday, December 28, 2016 at Carnegie Hall. For tickets, click here.  Learn more about Hyeyoung Song at www.hyeyoungsong.com.