Jenny Soonjin Kim, Piano: "Two Styles Collide and Share the Stage"

Sunday, November 10, 2019, 7 p.m.
Drinkward Recital Hall

A half body shot of Jenny-Soonjin Kim with her arms crossed.
Jenny Soonjin Kim. Photo courtesy of the artist.


Sonata No. 34 in E-flat Major Op. 38 No. 1
Leopold Kozeluch
(1747- 1818)

Transcendental Etude No. 1
Nuages Gris
Transcendental Etude No. 3
Franz Liszt
(1811- 1886)

Prelude Op. 11 No. 2, No. 5, No. 9 and No. 14
Alexander Scriabin
(1871- 1915)


OneOfFive: from Rhythmic Atonal Etudes
Rock the Metal: A Rhythmic Challenged Etude
Cleopatra’s Dream
Dennis Thurmond

During Kozeluch’s lifetime, he was considered the equal of Mozart. He composed 50 piano sonatas, concertos, symphonies, cantatas and operas. Most of his works have been lost.

“Cleopatra’s Dream” is an electronic composition using sequenced material with the use of additive, granular and sampling software. During Cleopatra’s tumultuous short life, maybe her dreams were as confused as my cat Cleopatra’s dreams were…

Jenny Soonjin Kim has performed in major venues in Europe, Asia, and North America and recorded keyboard works ranging from Bach to Schoenberg for Arabesque Records, which once nominated her for the prestigious Gilmore Artist Award, as well as the complete keyboard sonatas of both Leopold Kozeluch and Johann Friedrich Doles (a world premiere) on fortepiano for Brilliant Classics.

Sylvia Berry (Early Music America) wrote of the second Kozeluch volume:Kim’s playing is crystalline and lyrical, with exquisitely sensitive phrasing. She is an assured virtuoso who interprets Kozeluch’s music beautifully.” Marco Frei (Piano News, Germany) wrote of the Doles recording: “Once again the instrument convinces with an unheard-of floating tonal quality in piano and a voluminous expression in forte, and Kim knows how to use this fascinating richness of color perfectly… With this premiere recording Kim has taken an exemplary view, because it brings together the sound poetry and the gripping verve in a meaningful way.”

Kim has a DMA in Historical Performance Practices/Keyboard Studies from Claremont Graduate University, where she now is an Assistant Professor of Practice, overseeing the piano/fortepiano program. She also serves on the Board of Directors of the Los Angeles Master Chorale.

HMC is deeply grateful for the generous support that created The Ken Stevens ’61 Founding Class Concert Series.

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