LA 국제 리스트 피아노콩쿠르 1위 제갈소망

Los Angeles International Liszt Competition

 

 

 

2014.11.21.~ 23 일 미국 LA에서 열린 LA국제 리스트 피아노 콩쿠르에서 제갈소망이 1위를 했다고 알려왔습니다.

지난 번 <워싱턴 국제 콩쿠르>에서 1위를 한데 이어 이번 콩쿠르에 또 1위를 한 것입니다.

내년 5월30일 헝가리 부다페스트 <리스트 박물관>에서 콘서트를 하게 된다고 합니다.

 

 현재 USC 지도교수이신 Kevin Fitz-Gerald 님과 

 

평론가 

Sherli Leonard의 평가 --->http://www.pe.com/articles/jeagal-758940-keyboard-liszt.html 

Liszt must have had Somang Jeagal in mind when he composed for piano in the mid-19th century. The up-and-coming pianist performed in recital for the Village Concerts series on Sunday, and left no doubt as to why he won the 2014 Liszt International Piano Competition in Los Angeles.

Jeagal played three pieces from the Liszt set titled “Années de pèlerinage, Premiere Année,” each piece a distinct depiction of the an element of the natural world. If these were among the works Jeagal performed in competition, it’s no wonder he won first prize.

In huge contrast to the Clementi Sonata he performed to open the concert, a tidy exercise in figures which Jeagal played with exquisite discipline, the Liszt works summoned every fiber of emotional and technical capacity from Jeagal, and he delivered in spades. For “Au bord d’une source,” Jeagal’s fingers gracefully swept the keyboard, seeming ever so much like a brook untangling itself from a spring before he attacked the keyboard for “Orage” with the biggest octaves possible. Jeagal sits very close to the keyboard, elbows almost behind his back, perhaps to generate enormous strength.

“Vallee d’Obermann,” the third Liszt piece, offered a complete repertoire of technical challenges and artistic demands as Jeagal riveted the audience with a touch as soft as dust floating in space to one loaded with sad heaviness or brutal fierceness. He created more than one ethereal moment with arpeggios rolling sublimely beneath poignant melodic lines in this piece before punishing the keyboard with driving, big, big, bigness– it was all Liszt, and it stirred the souls of this appreciative audience, and it required a piano tuner to work on the upper portion of the keyboard during intermission.

Jeagal uses silence as effectively as any other technique, halting the sound abruptly, suspending the phrase, minding the musical intent. His sublime artistry elevated every moment of his playing.

To open the second half, Jeagal performed a contemporary piece–Liebermann was born in 1961– titled “Gargoyles,” a fascinating musical tour of those fascinating concrete creatures that lurk from high walls. He played this tricky, edgy, expressive work, hands and fingers flying all over the keyboard with a fierce panache, elegantly brilliant on the subdued parts, driving and driven on others. Jeagal performs with unaffected assurance and leaves no doubt about what he can do.

Shifting yet again in style, Jeagal gave his audience an stunningly beautiful performance of Chopin’s “Scherzo No. 4 in E major,” with scales and runs smooth and glossy and hushed or smooth and glossy and fiercely loud. He quickly launched into Chopin’s “Polonaise,” programmed for the end of the concert to honor the military heroes in the audience. Great drama, grand commitment, Jeagal’s performance almost brought the house down.

He did bring the house down to a calm and quiet sensibility with his encore, Debussy’s “Claire de Lune” – as breathless an experience as watching an egret gliding over the canyons.

Village Concerts at Air Force Village West in Riverside didn’t know in April when they booked Jeagal that he would win the Liszt competition prize. They knew only that he would dazzle the audience with a rare and spectacular talent.