Biography

Korean pianist Ko-Eun Yi, a winner of the Concert Artists Guild Competition, has earned praise for playing with “élan and fire and a surplus of bravura technique” (Cincinnati Enquirer). She has garnered numerous top prizes in her young career, including First Prize victories at the World Piano Competition in Cincinnati and the Wideman International Piano Competition in Jackson, Mississippi (both in 2010). The Washington Post applauded her recent debut recital in DC: “a masterful technician … Her finger-work was immaculate, inner voices were keenly drawn out, and there was no lack of power when needed.”

Highlights of Ko-Eun’s 2017-18 itinerary include recitals at the Bard Music Festival in New York, the Union County Performing Arts Center in New Jersey, and also in California for Pepperdine University Center for the Arts Series and El Camino College Center for the Arts.

The Cincinnati Enquirer praised her Gold medal-winning concerto performance at the World Piano Competition: “…a fantasy world of shimmering sounds and colors. Her playing was at once flawless and dazzling…” Additional recent concerto highlights for Ko-Eun include US performances with the Boston Symphony, Roswell Symphony, New West Symphony and the Aspen Concert Orchestra and University of Chicago Symphony and internationally with the Barcelona Symphony, Jerusalem Symphony and the Seoul Philharmonic Orchestra.  She has collaborated with such conductors as Lawrence Foster, Leon Fleisher, Christopher Wilkins, and Marcelo Lehninger, as well as Benjamin Zander, with whom she toured South America playing Saint-Saëns Concerto No. 2 with the New England Youth Philharmonic Orchestra.

She has been featured on WQXR’s long-running Young Artists Showcase program, including a live interview and performance in studio, and she was also invited to participate in WQXR’s June 2016 Chopin Piano Marathon, with a live video-stream of her performances of Chopin’s Ballade No. 1 and Scherzo No. 1, followed by later audio broadcast.

A compelling recitalist, Ko-Eun has given solo concerts around the US at Weill Recital Hall at Carnegie Hall and Lincoln Center’s Alice Tully Hall in NYC, the Phillips Collection in Washington, DC, the Dame Myra Hess Series in Chicago, The Cliburn’s Chopin Festival in Fort Worth, Florida’s Atlantic Music Center and the Artist Series of Tallahassee, the Trust Performing Arts Center in Harrisburg, PA and at Mount Holyoke College in Massachusetts, as well as internationally in Spain and Korea. At the Concert Artists Guild Competition, Ko-Eun was also awarded the Victor & Sono Elmaleh Piano Prize.

Born in Seoul, Korea, Ko-Eun Yi began her piano studies at the age of three. She earned her Bachelor and Master of Music degrees at The Juilliard School studying with Jerome Lowenthal and completed her Professional Studies degree with André-Michel Schub at Manhattan School of Music. In December 2017, she earns a Doctor of Musical Arts degree from Stony Brook University School of Music, as a student of Christina Dahl.

 

 

Audio

Haydn: Piano Sonata in C Major, Hob. XVI: 48, Rondo: Presto

Ravel: Une barque sur l'océan, from Miroirs

Elliott Carter: catenaires (from 2 Thoughts about the piano)

Grieg: Piano Concerto in A minor, Op. 16, Allegro moderato molto e marcato- Quasi presto- Andante maestoso

Chopin: Nocturne in G minor, Op. 37, No. 1

Szymanowski: Masques, Don Juan's Serenade

Schubert: Wanderer Fantasy in C Major, Op. 15, D. 760 (excerpt)

J.S. Bach: Prelude and Fugue in G minor, BMV 861

Liszt: Apres une lecture du Dante, fantasia quasi una sonata

Video

  • See video Chopin Preludes, Op 28 Live at The Trust Performing Arts Center

    Chopin Preludes, Op 28 Live at The Trust Performing Arts Center

  • See video  Ballade No. 1 in G minor

    Ballade No. 1 in G minor

Press

  • Quotes

    “…a fantasy world of shimmering sounds and colors…flawless and dazzling…”
    – Cincinnati Enquirer

    “Her finger-work was immaculate, inner voices were keenly drawn out…”
    – The Washington Post

    “Her fingers flew along the keys and evoked a sense of humor, sarcasm and whimsy.”
    – Cincinnati Enquirer

Repertoire

  • Orchestral Repertoire

    LUDWIG VAN BEETHOVEN: Concerto No. 1 in C Major, Op.15
    LUDWIG VAN BEETHOVEN: Concerto No. 2 in B-flat Major, Op.19
    LUDWIG VAN BEETHOVEN: Concerto No. 3 in C minor, Op. 37
    LUDWIG VAN BEETHOVEN: Concerto No. 4 in G Major Op. 58
    LUDWIG VAN BEETHOVEN: Concerto No. 5 in E-flat Major, Op.73
    JOHANNES BRAHMS: Concerto No. 1 in D minor
    JOHANNES BRAHMS: Concerto No. 2 in B-flat Major
    FREDERIC CHOPIN: Concerto No. 1 in E minor
    FREDERIC CHOPIN: Concerto No. 2 in F minor
    CESAR FRANCK: Symphonic Variations for Piano and Orchestra
    EDVARD GRIEG: Concerto in A minor
    GEORGE GERSHWIN: Piano Concerto in F
    FRANZ LISZT: Concerto No. 1 in E-flat Major                                                                                    FRANZ LISZT: Concerto No. 2 in A Major                                                                                          FRANZ LISZT: Totentanz
    FELIX MENDELSSOHN: Concerto No. 1 in G minor, Op. 25
    FELIX MENDELSSOHN: Concerto No. 2 in D minor, Op. 40
    WOLFGANG AMADEUS MOZART: Piano Concerto No. 20 in D minor, K. 466
    WOLFGANG AMADEUS MOZART: Piano Concerto No. 23 in A Major, K. 488
    WOLFGANG AMADEUS MOZART: Piano Concerto No. 24 in C minor, K. 491
    WOLFGANG AMADEUS MOZART: Piano Concerto No. 25 in C Major, K. 503
    WOLFGANG AMADEUS MOZART: Piano Concerto No. 26 in D Major, K. 537
    SERGEI PROKOFIEV: Concerto No.3 in C Major, Op.26
    SERGEI RACHMANINOFF: Concerto No. 2 in C minor
    SERGEI RACHMANINOFF: Concerto No. 3 in D minor
    SERGEI RACHMANINOFF: Rhapsody on a theme of Paganini
    MAURICE RAVEL: Concerto in G Major
    CAMILLE SAINT-SAENS: Concerto No. 2 in G minor
    CAMILLE SAINT-SAENS: Concerto No. 5 in F major
    ROBERT SCHUMANN: Concerto in A minor
    DMITRI SHOSTAKOVICH: Concerto No.1 in C minor, Op.35
    DMITRI SHOSTAKOVICH: Concerto No.2 in F Major, Op. 102
    PYOTR ILYICH TCHAIKOVSKY: Concerto No.1 in B-flat minor

  • Programs

    Color and sound

    Claude Debussy: Images, Book I & II
    Maurice Ravel: Miroirs
    Alexander Scriabin: Sonata No. 4 in F-sharp minor

    Debussy and Ravel were both influenced by their fascination with light and color, inspiring each composer to use a wide variety of tonal colors and textures to evoke strong musical images. Scriabin’s own sensory perceptions of color, now known as synesthesia, caused him to link pitches and keys to different types of colors.

    The Glory

    J.S. Bach: French Suite No.4 in E Flat Major
    Oliver Massiaen: Vingt regards sur l’enfant-Jésus (Twenty Ways of Looking at the Infant Jesus)
    No.1 Regard du Père (“Contemplation of the Father”)
    Joseph Haydn: Sonata in F Major Hob. XVI : 23
    Franz Liszt: Harmonies poétiques et religieuses (Poetic and Religious Harmonies)
    No.1 Invocation
    No.2 Ave Maria
    No.7 Funérailles (Funeral)
    No.10 Cantique d’amour (Hymm of love)

    Faith has always been a driving force and inspiration for many of the great composers. Bach once said “Music’s only purpose should be the glory of God and the recreation of the human spirit.” Messiaen was a devout Catholic who wrote nearly all religious music. In the sacred works of Haydn, he would begin by writing “in the name of the Lord,” and would end with “praise be to God” or “to God alone, the glory.” Liszt even retreated to the Monastery Madonna del Rosario, near Rome (from 1863-65) took holy orders and became known as abbe’ Liszt.

    Blended with Songs

    Robert Schumann: Transcription of songs
    Felix Mendelssohn: Songs without Words, Book I & II
    Franz Liszt: Schubert song transcriptions

    Schumann composed his songs in 1840, the year of his engagement and marriage to Clara, and he later transcribed many of his songs for piano. Mendelssohn wrote his Songs without Words for piano in 1830, resulting in 48 short pieces grouped in eight books. Liszt expressed his experience of hearing Schubert’s songs in his 1838 visit to Vienna: “I heard in the salons, with vivid pleasure and sentimentality bringing tears to my eyes, an artistic friend, the Baron von Schönstein, present Schubert’s lieder….” This experience inspired Liszt to write numerous transcriptions of Schubert songs for solo piano.