Artist: Seong-Jin Cho
Album: Mozart: Piano Concerto No. 20, K. 466; Piano Sonatas, K. 281 & 332
Genre: Classical
Release Date: 2018
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:09:29
Total Tracks: 10
Total Size: 1,24 GB

Tracklist:

1-01. Seong-Jin Cho – Piano Concerto No. 20 in D minor, K. 466 : 1. Allegro (Cadenza by Beethoven) (14:09)
1-02. Seong-Jin Cho – Piano Concerto No. 20 in D minor, K. 466 : 2. Romance (08:59)
1-03. Seong-Jin Cho – Piano Concerto No. 20 in D minor, K. 466 : 3. Allegro assai (Cadenza by Beethoven) (07:50)
1-04. Seong-Jin Cho – Piano Sonata No. 3 in B-Flat Major, K. 281 : 1. Allegro (04:26)
1-05. Seong-Jin Cho – Piano Sonata No. 3 in B-Flat Major, K. 281 : 2. Andante amoroso (04:45)
1-06. Seong-Jin Cho – Piano Sonata No. 3 in B-Flat Major, K. 281 : 3. Rondo (Allegro) (04:29)
1-07. Seong-Jin Cho – Piano Sonata No. 12 in F major, K. 332 : 1. Allegro (07:01)
1-08. Seong-Jin Cho – Piano Sonata No. 12 in F major, K. 332 : 2. Adagio (05:05)
1-09. Seong-Jin Cho – Piano Sonata No. 12 in F major, K. 332 : 3. Allegro assai (07:05)
1-10. Seong-Jin Cho – Fantasia in D minor, K. 397 : Fantasia in D Minor, K. 397 (05:36)

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After winning the First Prize at the 2015 International Chopin Piano Competition, Korean pianist Seong-Jin Cho (born in 1994) embarked on a bright global career that has already taken him absolutely everywhere! Following his first three albums, with two devoted to Chopin (obviously…), a third to Debussy (slightly more unusual), he now dives into Mozart, in particular the Concerto in D minor that has already earned him a Third Prize at the 2011 International Tchaikovsky Competition. In fact, the pianist explains how Mozart was his favourite as a child, and proves it with great finesse in this recording. In accompanied Yannick Nézet-Séguin – a master at accompaniment for opera and concerts – Cho has found an excellent partner. It is worth noting the pianist has opted for the cadences composed by Beethoven.His album also features two Mozart sonatas, both in major keys strongly contrasting with the dark and theatrical concerto. Once again the pianist puts emphasis on clarity and the sung line, rather than sheer virtuosity – however, virtuosity is still apparent despite Mozart’s sonatas not exactly being monsters of fingering mechanics. The album ends withFantasia No. 3 in D minor, one of his most famous pieces even though it is only a fragment of a movement (it was either unfinished or the ending was lost). The ten concluding measures were added by an editor.