Hyeyoung Song, Pianist

January 18, 2017

[Star-Telegram, 1.6, 2017] WC’s Hyeyoung Song performs at Carnegie Hall

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JANUARY 6, 2017 3:09 PM

WC’s Hyeyoung Song performs at Carnegie Hall


January 11, 2017

WC’s Hyeyoung Song performs at Carnegie Hall

Filed under: News — admin @ 11:31 pm

WC’s Hyeyoung Song performs at Carnegie Hall

Concert pianist and Weatherford College Artist-in-Residence Dr. Hyeyoung Song performed to a sold-out audience at Carnegie Hall in New York City on Dec. 28. The concert wrapped up her 2016 international tour which included Paris, Spain and Korea.

The concert, held in Carnegie Hall’s elegant Weill Recital Hall, included selections from Bach, Beethoven and Debussy as well as modern pieces by American composers Gershwin, Cowell and 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,” Song said.

Publicity materials for Song’s tour were created by the WC Creative and Graphic Services Arts Department as part of the college’s partnership with Song who performs a free concert each semester at WC’s Alkek Fine Arts Center. Along with applied piano lessons, she has also taught Musicianship, Music Appreciation, and group piano classes at WC.

“I thank Weatherford College so much for the tremendous support and help,” she said. “I am so proud and honored to be a member of the Weatherford College family.”

Originally from Korea, Song was the First Prize winner of the Janice K. Hodges Competition at the University of Texas at San Antonio. She earned her bachelor’s and master’s degrees from Ewha Woman’s University in Korea and a Doctor of Musical Arts degree in piano performance from the University of Texas at Austin. She has served as WC’s Artist-in-Residence since 2007.



January 3, 2017

[Jan.3, 2017]Hyeyoung Song wraps up her tour with success

Filed under: News — admin @ 10:45 pm
Hyeyoung Song wraps up her tour with success
December 28, 2016 | Weill Recital Hall at Carnegie Hall, New York
Reviewed and edited by Lilly Lee, Hannah Kim

   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.


피아니스트 송혜영 카네기홀 대성황 공연

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    피아니스트 송혜영 카네기홀 대성황 공연














송혜영 피아니스트의 공연이 지난 12월 28일 카네기홀에서 대성황리에 개최되었다.  

피아니스트 송혜영은 재니스 하지스 국제 피아노 콩쿨 우승, 코퍼스 크리스티 국제 쇼팽 콩쿨, 시드니 라이트 콩쿨 입상, 텍사스 주립대 윌리엄 리빙스톤 엑설런트 티칭상을 수상한 바 있으며, “진정성, 원숙함, 정통성을 지닌, 청중의 귀와 마음을 사로잡는 연주자로 극도로 아름답고 절묘한 음색과 놀라운 음악적 에너지를 보여주고 있다.”는 평가를 받고 있다.

스타인웨이 홀 초청 연주를 비롯, 뉴욕 야마하 홀, 뉴욕 텐리 박물관 초청 브람스 기념 음악회, 달라스 Mu Phi Epsilon 초청 독주회, 스페인 Candas홀,  파리 American Church, LBJ오디토리움, 반 클라이번 영 아티스트 연주회, 텍사스 홀, 퍼스트 뱅크 연주홀, 마고 죤스 홀, 웰-카비 홀, 펩시코 홀, 애드 랜드레스 홀, 베이츠 홀, 제슨 홀, 세종 문화회관 등에서 연주 했다. 텍사스 주립대학, 오르페우스 음악원, 텍사스주 형사사법부 대학, 북텍사스 컬리지 등에서 가르쳤고, 이화여자대학교, 서울신학대학교, 사우스 웨스턴 대학,  텍사스 여대, 스토니 브룩 국제 피아노 페스티발,  스페인 히혼 국제 피아노 페스티발 등 세계 각국에서 초청연주와 마스터 클라스를 열었다. 또한 피아니스트 에이미 거스탑슨과 피아노 듀오 아줄을 결성하여 활발히 활동하고 있다.

이번 공연에는 바하, 베에토벤, 드비시, 거쉰, 졔프스키, 카월 등 바로크와 고전, 인상주의, 미국 근현대 피아노 음악까지 다양한 작품이 연주되어 환호와 큰 박수를 받았다. 

-미국최대한인대표포털 뉴욕코리아, 조셉 리 기자-








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