HANS SUH Piano Recital
Victoria Concert Hall
Sunday (8 March 2026), 7.30 pm
Bechstein Music World’s piano recital series for 2026 opened with the recital by young South Korean pianist Hans Suh. Winner of the International Telekom Beethoven Competition Bonn in 2021, he brought to the table a wide palette of pianistic contrasts in an interested and varied programme.
Beginning with Brahms’ Three Intermezzi (Op.117), his measured tempo in the hymn-like E flat major first piece yielded a gorgeous sonority from the Bechstein grand. The paced quickened for the darker edged B flat minor number, which treaded with a smouldering unease. The unison voices in the final intermezzo provided a release of sorts, seeing the light of day in these “lullabies of grief”. The autumnal quality of Brahms’ last years was vividly captured in Suh’s hands.
Some might quibble at the relatively fast opening which Suh took for Beethoven’s Sonata in C sharp minor (Op.27 No.2), the so-called Moonlight Sonata. Adagio sostenuto sounded more like Allegretto here, but this was not to be some faux profound or sentimental wallow which some pianists maintain. Just the right amount of pedal ensured there was no swimminess, and the ensuing Allegretto was exactly that, a country dance with requisite drones. All this was swept away by the tempestuous and suitably violent finale, where Suh maintained a single-minded doggedness all the way to the brilliant end.
Of particular interest was Suh’s original composition, a four-movement suite Der Fliegende Koreaner (The Flying Korean), its title a wordplay on Richard Wagner’s Der Fliegende Holländer (The Flying Dutchman). Four very different cities featured in this travelogue, which a composer like Samuel Barber might have called Excursions.
The first was New York: Broadway, a quasi-minimalist rhythmic dance which took on a Ginastera-like intensity and percussiveness but its inspiration was America from Bernstein’s West Side Story, revealed with a quote at its end. Helsinki: Töölönlahti Bay was more abstract and impressionist, suggestive of an icy landscape. Köln / Bonn: Kölner Dom was a tribute to Germany and Bach, almost becoming a Chaconne in D minor but stopping short. Finally, Seoul: Squid Game channeled the energetic vibes of movie and videogame music. Never saw the Netflix series, but one just about got the idea.
Mussorgsky’s Pictures at an Exhibition occupied the second half of the recital. No pianist has taken the opening Promenade as vehemently driven as this, bringing to mind the young Lan Shui’s blistering debut with the Singapore Symphony with Ravel’s orchestration way back in 1993. This was going to be very personal account, and Suh gave notice with every ensuing movement bring sharply characterised. He did not need to add to its many notes, instead highlighted the numerous opportunities for heightening contours.
Gnomus had a malevolent edge, while The Old Castle’s troubadour sang forlornly, and Tuileries came alive with the bickering of children and nannies. Bydlo opened very loudly in its rumbling journey, while emphasis to the bass notes gave Schmuyle (the second of Two Polish Jews) an added layer of pathos.
The Ballet of Unhatched Chicks and Marketplace in Limoges were brilliantly delivered. Even Catacombs and In the Language of the Dead, which usually sound routine or bored had the glow of sinister which elude many others. Finally Baba Yaga’s Hut and The Great Gate of Kiev, with the clangour of carillons, brought this museum guide to a truly thunderous close.
Suh elected to play a simple encore, a delectably tender reading of Debussy’s Clair de lune, then followed with the finale from Beethoven’s Appassionata Sonata (Op.57). That almost careened off the tracks for a moment, but Suh steered it like a grand prix driver victoriously past the checkered flag.
All photographs courtesy of
Bechstein Music World.
No comments:
Post a Comment