To my ears she gave the more exciting interpretation of the mandatory Tchaikovsky First Piano Concerto: a blistering reading that left me gasping. I would have given her gold, not silver.
From her delectation of the elaborate, quasi-improvisational ornamental writing in the Haydn Sonata to her teasingly understand final note of Godowsky's Fledermaus transcription. Son not only plays with incisive tone but gives the impression of being a spontaneous communicator.
“Shrouded by the orchestra’s romantic swooshing and whispering, [Yeol Eum Son] devotes herself to her dreaming, and Kitajenko follows her in absorbing the emotional impulses of the piano with seismographic sensitivity, to transmit the joint pulse, the joint breath to the entire orchestra . A musical experience of the deepest mutual understanding is portrayed, a truly magical moment.”
But the big surprise was mainly the pianist Son who gave an explosive rendition of Ravel's Concerto for the left hand, in a dress that exposes only the active arm ...... We have to thank again Gergiev who discovered her a few years ago at the Tchaikovsky Competition.
Son's poise and lyricism were evident in her reading of the Rachmaninov Piano Concerto no. 1, a work that is musically less substantial and certainly less famous than than the second. She nonetheless made a powerful impression, displaying both an impressive, sparkling technique and a restrained, silky touch in the more lyrical passages. Son literally let her hair down, shaking out a chignon, in the second-movement Andante, playing as if it were an eloquent private reverie.
A kind of superhuman eclat that can easily remind you of Hoffmann or Lhevinne in its supremely clear, neat and even brilliance.
Son should have no trouble building a career. She's got the fingers and the personality - and, the haut-est couture.
Blessed with a natural, unaffected musicality, this young artist plays with a fluid technique and a guileless approach.