The chamber orchestra and four soloists of the 'Musical Summer', under the guidance of
Viennese conductor Wolfgang Doerner, chose for the first part of their program Vivaldi's
famous and much taxed, yet ingenious, violin concerto "La Quattro Stagioni" (The four
seasons). Those who thought these pieces had been fully interpreted were easily proven
wrong. Ensemble and soloists interpreted Vivaldi's baroque programmatic-music (each of
the concertos relates to a "Sonetto Dimonstrativo" of the composer) literally, as was usual
for that time regarding word-based music. Drastically painted, but not overdrawn, scenes
dominated, with the amazing coordination of all members contributing to their power and
atmosphere. While they were playing in unison watching the interplay between ensemble
and soli was breathtaking. In the interpretation of the solo voices - Mechthild Karkow in the
concerto 'Spring', Franziska Koenig ('Summer'), Doren Dinglinger ('Autumn'), and the
Korean Se-Young Kim ('Winter') - the differences of the artists' characters, the access each
had to the music, their technical virtuosity and a spontaneity born out of an intimate
understanding of the music fascinated the audience.
Caption: Se-Young Kim captivated as Winter Fairy in a white dress.
Delightful cembalo movements with magical Tutti-accompaniment in 'Adagio' were
accomplished persuasively. Joyful, in a strongly accentuated processional dance, autumn
wants to merge into winter, interrupted only briefly by rearing figures and an eerie Tutti-
tremolo. Icily winter comes closer. The orchestra achieves this effect through hard, crystal
clear miniatures. As a soloist Se-Young Kim shines in an allegorical white dress. This young
artist, she studies with Professor Wolfram Koenig in Trossingen, delights with her
wonderful, dynamic play and with her urge towards great virtuosity. Kim the Winter Fairy
conjures an incomparably beautiful, soft, downy blanket over the land. Then, all of a
sudden, winter is powerfully present. A grandiose performance by the four soloists and the
entire orchestra is celebrated with exultant cheers.
Bach, Brahms and Berg
(Friday, May 14, 2004)
Passionately the first movement surges forward, yet always with a hint of melancholy. In
the scherzo Brahms finally shows himself as truly happy and the three musicians, Se-Young
Kim, violin, Jill Hesse, horn, and Laura Rigby-Stokes, Piano, vehemently let this be known.
The adagio floats between sadness and bliss with a fierce outburst in between, but the
final movement urges into the wide open with impassioned triplets.
University music students participate in famous competition
(Trossinger Zeitung, January 15, 2007)
In anticipation of the Mendelssohn-Competition in Berlin the Trossinger students Se-Young
Kim (Violin) and Katalin Rozgonyi (Piano) have extensively rehearsed four violin sonatas by
Beethoven, a fantasy by Arnold Schoenberg and pieces by Debussy and Brahms, as well as,
of course, Mendelssohn-Bartholdy. It was especially in the works from the romantic period
that the violinist Se-Young Kim revealed a profound dedication that combined congenially
with the lithe and supple piano melodies. Debussy sounded distinctly cooler; Schoenberg
somewhat distant, which suited the complex structures of his works well.
Quintet inspires again and again.
(Trossinger Zeitung, Friday, January 28, 2005)
Although in a fit of youthful exuberance Ionnna Poenaru hit the keys of her piano slightly
too hard at times, the audience immediately realized that the five university students
playing in front of them were real artists. Se-Young Kim is an excellent violinist and playing
in concert with the cellist Maraike Kirchner, who plays equally as tunefully as Kim, both
carried the melody in a congenial manner. The violist Sandor Varga elegantly provided the
accompanying figures and Ovidiu Lucian-Manolache, with his contrabass, set the
foundation on solid footing. Following an almost tragic introduction, a happy musical
performance ensued, characterized by dancing aspiration. It was especially beautiful how
the horn section seemed to 'speak' with the string players. Schubert's touching melodics
seem to pull one's soul from one's body. It is heavenly music that came right out of
Schubert's heart. A happy Allegro, as well as an Andante with seven variations, of which the
final one was purely a violin concerto, followed.
Matinee in Townhall's Foyer well visited
(Thursday, February 19, 2004)
The selection of contemporary music from the 20th century was intoned by both artists
magnificently. The lively alternation between dramatic dissonances and cheery, playful
harmonics was worked out brilliantly, in the solo pieces, as well as the duets.
Modern Sounds in the Townhall
With their virtuoso performance both artists quickly spellbound their audience. That Maria
Se-Young Kim chose as her first piece Yossi Gutmann's Sonata for Violin, a piece in which
two motifs are introduced and in the course of the piece combined with one another, must
have been especially poignant for Christopher Link, as it was Gutmann who inspired him
as a teacher at the Conservatory in Eisenstadt. The temperamental performance of the
Korean artist gratified the audience greatly.
Successful Matinee in the Townhall's Foyer
The young artist Maria Se-Young Kim has already performed with the Seoul Symphonic
Orchestra as soloist. She impressed her audience in Steisslingen with the Sonata Nr. 3 in C-
Dur by Johann Sebastian Bach. Caption: "Musical Sunday" - A very successful musical
Sunday morning was prepared by Maria Se-Young Kim (Violin) and Christoph Link (Viola)
for the audience of the matinee in the foyer of the Steissling townhall. They delighted
visitors with their virtuoso performance of works by Niccolo Paganini, Aram
Chatschaturian, Johann Sebastian Bach and Adolf Busch. It was especially gratifying to see
the number of young concert goers this year attending the opening of the Musical Spring,
an event now in its seventh year.
Successful Matinee in Townhall/Musicians Enchant Audience
In the passage by Heinrich Biber a baroque richness of sound was assembled in a theme
of four declining notes, a theme which repeatedly unified the competing ideas and merged
them peacefully together. Maria Se-Young Kim let her performance become an auditory
feast. Following their performance in the Steisslingen townhall, both artists received
veritable storms of long lasting applause by the enchanted audience.
Masterpieces from Three Centuries (Süd-Kurier)
Playing "Passacaglia" for violin solo, composed by Bohemian violinist Heinrich Ignaz Biber
(1644 - 1704), Maria Se-Young Kim captivated her audience and took them on a stellar
musical journey. The young violinist has already completed her graduate degree in music
and is currently working on her education as a soloist at the College of Music at the
university in Trossingen. She comes across as a very warm and natural individual and her
musical interpretation mirrors her personality. Her sound has substance and was able to
fill the acoustic space of the church even when she was playing the most delicate
Pianissimo. The "Passacaglia," often used as the concluding piece of a suite, is a musical
piece made up of variations of a constantly repeating base line in triple meter. Se-Young
Kim played this baroque masterpiece with a surprisingly large variety of moods and
timbres, with a fine sense for acoustic nuances and an immense intensity of expression
from the first to the last tone. The Adagio-like, prelude of heavenly sweetness played in a
sacred tune, attained contours and a sudden unexpected bite. Mozart, played in a
transparent and spirited manner by the charismatic violin virtuoso Se-Young Kim, made up
the wonderfully relaxing finale. Kim took the lead in a sensitive and low-key manner
without ever dominating her musical partner. "It was simply fantastic," was the comment
most often heard from concert goers following the end.
Pure Passion in Wiegoldsbur: Chambermusic in Wibaldi Church
(Rheiderland Zeitung, July 30, 2003)
The highlight of the concert was the piece Piano trio g-moll op. 15 by the famous Czech
composer Friedrich Smetana. It was pure passion, acoustically and optically. The Korean
Se-Young Kim (violin) not only imparts the sounds of her violin strength and life, she
herself becomes music! Peter Barcaba, playing the piano, and Christoph Otto Beyer (violin-
cello) also showed much emotion. All three artists play with unbelievable physical effort
and create musical and artistic eruptions that inspire and electrify. These artists offer the
unusual, they interpret Smetana in the best manner, let their music appear transparent
and paint beautiful themes in Wibaldi Church, from airy, delightful dance scenes to
monumental bodies of sound. The consummation of their tremendous effort comes in the
vehement ending. For their grandiose performance the trio receives storms of applause by
the audience.
Perfection from beginning to end: Musical Summer in the Bagbander Church
(Ostfriesen-Zeitung, August 9, 2001)
Then the sole male musician of the evening took his place in front of the piano. Seong-
Soon Hwang together with violinist Se-Young Kim played the well known B-major-sonata by
Mozart, which, while well known for its difficulty, posed no problems at all for either
musician. Kim played so clearly, so expressively, so congenially that listeners did not notice
what a challenge this piece is to play. While the "Seufzerfiguren" (sigh figures) of the violin
were somewhat exaggerated at times, the talents and skills of the Korean artists, combined
with the clarity and nobility of their playing, led to a beautifully organized set of dialogically
patterned themes. Played by Se-Young Kim and Amalia-Maria Bonciocat on the piano, the
outer movements of the Brahms-sonata bore witness to a passionate creative force.
The Fireworks of Chamber music
(Ostfriesen-Zeitung, August 7, 2003)Magical sounds by Doren Dinglinger, Se-Young Kim and Yuan Rong (all violin), as well as the petit Hyun-Ju Yu (piano) provided the crowning finale of a very varied program. Se-Young Kim and Hyun-Ju Yu enchanted their audience with two outstandingly intense sonatas, one by Ludwig van Beethoven and the other by Claude Debussy.
The Fireworks of Chamber Music in Aurich
(Ostfriesische Nachrichten, August, 7, 2003)Se-Young Kim and Hyun-Ju Yu enchanted their audience with two outstandingly intense sonatas, one by Ludwig van Beethoven and the other by Claude Debussy. Kim's distinctive emotion and vehemence, but also her mellifluous play, are very promising. Kim is an artist that in the future will no doubt have a striking impact on the musical scene.
no title
[Se-Young Kim] shone thanks to a very expressive, yet playful, rendition of Claude Debussy's "Sonata for Violin and Piano g-minor." Kim, who is from South Korea, left the strongest impression of the evening, especially in regards to stage presence. She captured the essence of Ludwig van Beethoven's "Sonata for Piano and Violin op 12 Nr. 1 D-major" and was able to interpret the piece in a confident and personable manner.
Brilliant Musicians rouse Heart and Soul
(Schwarzwaelder Bote, Thursday, March 15, 2004) "It is quite strenuous to watch so much brilliance," exclaimed one audience member at the end of her concert experience at Culture & Clinic on Sunday evening. A captivating evening of chamber music in the chapel of the county clinic enthralled music lovers. The young, award-winning violinist Se-Young Kim and the pianist Juliane Wagner, lecturer at the Trossinger College of Music, played sonatas from four eras. Dr. Albrecht Dapp, the initiator of the concert series, was especially happy with the patient turn-out, because patients need more than medicine; they also require something for heart and soul. With Mozart's late B-major Sonata KV 454 a compositional miracle was brought to flower. Kim, supported by the accomplished pianist, led listeners into the abyss of the minors and brought both instruments back together in the gentle reprise. The first contrast followed with the great French impressionist Claude Debussy. Instead of long Mozart-like melodies, there were now short motifs and structures that the violin allowed to echo, sporadically die out and reappear in the form of varied forms. The piano enriched with its sounds the fountain of inspiration. It was, for the listener, as well as the spectator, affectingly beautiful, not just to hear, but to see with what fervor the young Se-Young Kim elicited from her violin abrupt shreds of sound and crystal clear flageolet tones with such seemingly fragile fingers. The absolute highlight was, of course, Jussi Gutmann's "Sonata for Solo Violin." Here the audience experienced a true emotional roller-coaster between the wild, perfect dissonances and softly dying harmonies that the young violinist produced with expressions of pain. As a welcome final act of romantic-harmonic reconciliation came the piece by Brahms. The "Sonata for Piano and Violin in G-major Opus 78" allowed both ladies to show off their abilities to their fullest extent one last time.
Romantic-harmonic reconciliation with Violin and Piano
"It is quite strenuous to watch so much brilliance," exclaimed one audience member at the end of her concert experience at Culture & Clinic on Sunday evening. The multi-award winning violinist Se-Young Kim and the pianist Juliane Wagner, lecturer at the Trossinger College of Music, played sonatas from four eras. With Mozart's late B-major Sonata KV 454 a compositional miracle was brought to flower. Kim, supported by the accomplished pianist, led listeners into the abyss of the minors and brought both instruments back together in the gentle reprise. In the brilliant final-rondo, with its boisterous abundance of ideas, both artists were allowed "to let of some steam" for the first time. The first contrast followed with the great French impressionist Claude Debussy. Instead of long Mozart-like melodies, there were now short motifs and structures that the violin allowed to echo, sporadically die out and reappear in the form of varied forms. The piano enriched with its sounds the fountain of inspiration. Strikingly beautiful It was, for the listener, as well as the spectator, strikingly beautiful, not just to hear, but to see with what fervor the young Se-Young Kim elicited from her violin abrupt shreds of sound and crystal clear flageolet tones with such seemingly fragile fingers. The absolute highlight was, of course, Jussi Gutmann's "Sonata for Solo Violin." For Kim interpreting this recent, yet well-known piece was particularly poignant, as her current teacher, Professor Wolfram Koenig, premiered it a few years prior. Here the audience experienced a true emotional roller-coaster between the wild, perfect dissonances, that hurt one's ears, and softly dying harmonies which the young violinist produced with expressions of pain.
Soaring artistic talent: Brilliant Final Concert of the Musical Summer in Reepsholt
(Anzeiger fuer Harlingerland, August 12, 2003)The most popular recital was by Se-Young Kim, whose brilliant play developed and continued to build into an unleashed passion. Absolutely outstanding her performance; spontaneous the audience reaction - waves of applause. These "Four Seasons" made accessible to the audience a particular manner of presentation in which Vivaldi takes an exceptional position
that the five university students playing in front
of them were real artists. Se-Young Kim is an
excellent violinist and playing in concert with the
cellist Maraike Kirchner, who plays equally as
tunefully as Kim, both carried the melody in a
congenial manner. The violist Sandor Varga
elegantly provided the accompanying figures
and Ovidiu Lucian-Manolache, with his
contrabass, set the foundation on solid footing.
Following an almost tragic introduction, a happy
musical performance ensued, characterized by
dancing aspiration. It was especially beautiful
how the horn section seemed to 'speak' with the
string players. Schubert's touching melodics
seem to pull one's soul from one's body. It is
heavenly music that came right out of Schubert's
heart. A happy Allegro, as well as an Andante
with seven variations, of which the final one was
purely a violin concerto, followed.
Matinee in
Townhall's Foyer
well visited
(Thursday, February 19, 2004)
The selection of contemporary music from the
20th century was intoned by both artists
magnificently. The lively alternation between
dramatic dissonances and cheery, playful
harmonics was worked out brilliantly, in the solo
pieces, as well as the duets.
Modern Sounds in the
Townhall
With their virtuoso performance both artists
quickly spellbound their audience. That Maria
Se-Young Kim chose as her first piece Yossi
Gutmann's Sonata for Violin, a piece in which
two motifs are introduced and in the course of
the piece combined with one another, must
have been especially poignant for Christopher
Link, as it was Gutmann who inspired him as a
teacher at the Conservatory in Eisenstadt. The
temperamental performance of the Korean
artist gratified the audience greatly.
Successful Matinee in
the Townhall's Foyer
The young artist Maria Se-Young Kim has already
performed with the Seoul Symphonic Orchestra
as soloist. She impressed her audience in
Steisslingen with the Sonata Nr. 3 in C-Dur by
Johann Sebastian Bach. Caption: "Musical
Sunday" - A very successful musical Sunday
morning was prepared by Maria Se-Young Kim
(Violin) and Christoph Link (Viola) for the
audience of the matinee in the foyer of the
Steissling townhall. They delighted visitors with
their virtuoso performance of works by Niccolo
Paganini, Aram Chatschaturian, Johann
Sebastian Bach and Adolf Busch. It was
especially gratifying to see the number of young
concert goers this year attending the opening of
the Musical Spring, an event now in its seventh
year.
Successful Matinee in
Townhall/Musicians Enchant
Audience
In the passage by Heinrich Biber a baroque
richness of sound was assembled in a theme of
four declining notes, a theme which repeatedly
unified the competing ideas and merged them
peacefully together. Maria Se-Young Kim let her
performance become an auditory feast.
Following their performance in the Steisslingen
townhall, both artists received veritable storms
of long lasting applause by the enchanted
audience.
Masterpieces from
Three Centuries (Süd-
Kurier)
Playing "Passacaglia" for violin solo, composed
by Bohemian violinist Heinrich Ignaz Biber (1644
- 1704), Maria Se-Young Kim captivated her
audience and took them on a stellar musical
journey. The young violinist has already
completed her graduate degree in music and is
currently working on her education as a soloist
at the College of Music at the university in
Trossingen. She comes across as a very warm
and natural individual and her musical
interpretation mirrors her personality. Her
sound has substance and was able to fill the
acoustic space of the church even when she was
playing the most delicate Pianissimo. The
"Passacaglia," often used as the concluding
piece of a suite, is a musical piece made up of
variations of a constantly repeating base line in
triple meter. Se-Young Kim played this baroque
masterpiece with a surprisingly large variety of
moods and timbres, with a fine sense for
acoustic nuances and an immense intensity of
expression from the first to the last tone. The
Adagio-like, prelude of heavenly sweetness
played in a sacred tune, attained contours and a
sudden unexpected bite. Mozart, played in a
transparent and spirited manner by the
charismatic violin virtuoso Se-Young Kim, made
up the wonderfully relaxing finale. Kim took the
lead in a sensitive and low-key manner without
ever dominating her musical partner. "It was
simply fantastic," was the comment most often
heard from concert goers following the end.
Pure Passion in Wiegoldsbur:
Chambermusic in Wibaldi Church
(Rheiderland Zeitung, July 30, 2003)
The highlight of the concert was the piece Piano
trio g-moll op. 15 by the famous Czech
composer Friedrich Smetana. It was pure
passion, acoustically and optically. The Korean
Se-Young Kim (violin) not only imparts the
sounds of her violin strength and life, she herself
becomes music! Peter Barcaba, playing the
piano, and Christoph Otto Beyer (violin-cello)
also showed much emotion. All three artists play
with unbelievable physical effort and create
musical and artistic eruptions that inspire and
electrify. These artists offer the unusual, they
interpret Smetana in the best manner, let their
music appear transparent and paint beautiful
themes in Wibaldi Church, from airy, delightful
dance scenes to monumental bodies of sound.
The consummation of their tremendous effort
comes in the vehement ending. For their
grandiose performance the trio receives storms
of applause by the audience.
Perfection from beginning to end: Musical
Summer in the Bagbander Church
(Ostfriesen-Zeitung, August 9, 2001)
Then the sole male musician of the evening took
his place in front of the piano. Seong-Soon
Hwang together with violinist Se-Young Kim
played the well known B-major-sonata by
Mozart, which, while well known for its difficulty,
posed no problems at all for either musician.
Kim played so clearly, so expressively, so
congenially that listeners did not notice what a
challenge this piece is to play. While the
"Seufzerfiguren" (sigh figures) of the violin were
somewhat exaggerated at times, the talents and
skills of the Korean artists, combined with the
clarity and nobility of their playing, led to a
beautifully organized set of dialogically
patterned themes. Played by Se-Young Kim and
Amalia-Maria Bonciocat on the piano, the outer
movements of the Brahms-sonata bore witness
to a passionate creative force.
The Fireworks of
Chamber music
(Ostfriesen-Zeitung, August 7, 2003)Magical sounds by Doren Dinglinger, Se-Young Kim and Yuan Rong (all violin), as well as the petit Hyun-Ju Yu (piano) provided the crowning finale of a very varied program. Se-Young Kim and Hyun-Ju Yu enchanted their audience with two outstandingly intense sonatas, one by Ludwig van Beethoven and the other by Claude Debussy.
The Fireworks of
Chamber Music in
Aurich
(Ostfriesische Nachrichten, August, 7,2003) Se-Young Kim and Hyun-Ju Yuenchanted their audience with twooutstandingly intense sonatas, one byLudwig van Beethoven and the other byClaude Debussy. Kim's distinctiveemotion and vehemence, but also hermellifluous play, are very promising. Kim is an artist that in the future will no doubt have a striking impact on the musicalscene.
no title
[Se-Young Kim] shone thanks to a veryexpressive, yet playful, rendition ofClaude Debussy's "Sonata for Violin andPiano g-minor." Kim, who is from SouthKorea, left the strongest impression ofthe evening, especially in regards to stage presence. She captured the essence ofLudwig van Beethoven's "Sonata forPiano and Violin op 12 Nr. 1 D-major" and was able to interpret the piece in aconfident and personable manner.
Brilliant Musicians
rouse Heart and Soul
(Schwarzwaelder Bote, Thursday, March 15,2004) "It is quite strenuous to watch so muchbrilliance," exclaimed one audience member atthe end of her concert experience at Culture &Clinic on Sunday evening. A captivating eveningof chamber music in the chapel of the countyclinic enthralled music lovers. The young, award-winning violinist Se-Young Kim and the pianistJuliane Wagner, lecturer at the TrossingerCollege of Music, played sonatas from four eras.Dr. Albrecht Dapp, the initiator of the concertseries, was especially happy with the patientturn-out, because patients need more thanmedicine; they also require something for heartand soul. With Mozart's late B-major Sonata KV454 a compositional miracle was brought toflower. Kim, supported by the accomplishedpianist, led listeners into the abyss of the minorsand brought both instruments back together inthe gentle reprise. The first contrast followedwith the great French impressionist ClaudeDebussy. Instead of long Mozart-like melodies,there were now short motifs and structures thatthe violin allowed to echo, sporadically die outand reappear in the form of varied forms. Thepiano enriched with its sounds the fountain ofinspiration. It was, for the listener, as well as thespectator, affectingly beautiful, not just to hear,but to see with what fervor the young Se-YoungKim elicited from her violin abrupt shreds ofsound and crystal clear flageolet tones with suchseemingly fragile fingers. The absolute highlightwas, of course, Jussi Gutmann's "Sonata for SoloViolin." Here the audience experienced a trueemotional roller-coaster between the wild,perfect dissonances and softly dying harmoniesthat the young violinist produced withexpressions of pain. As a welcome final act ofromantic-harmonic reconciliation came thepiece by Brahms. The "Sonata for Piano andViolin in G-major Opus 78" allowed both ladiesto show off their abilities to their fullest extentone last time.
Romantic-harmonic
reconciliation with Violin and
Piano
"It is quite strenuous to watch so muchbrilliance," exclaimed one audience member atthe end of her concert experience at Culture &Clinic on Sunday evening. The multi-awardwinning violinist Se-Young Kim and the pianistJuliane Wagner, lecturer at the TrossingerCollege of Music, played sonatas from four eras.With Mozart's late B-major Sonata KV 454 acompositional miracle was brought to flower.Kim, supported by the accomplished pianist, ledlisteners into the abyss of the minors andbrought both instruments back together in thegentle reprise. In the brilliant final-rondo, with itsboisterous abundance of ideas, both artistswere allowed "to let of some steam" for the firsttime. The first contrast followed with the greatFrench impressionist Claude Debussy. Instead oflong Mozart-like melodies, there were now shortmotifs and structures that the violin allowed toecho, sporadically die out and reappear in theform of varied forms. The piano enriched withits sounds the fountain of inspiration. Strikinglybeautiful It was, for the listener, as well as thespectator, strikingly beautiful, not just to hear,but to see with what fervor the young Se-YoungKim elicited from her violin abrupt shreds ofsound and crystal clear flageolet tones with suchseemingly fragile fingers. The absolute highlightwas, of course, Jussi Gutmann's "Sonata for SoloViolin." For Kim interpreting this recent, yet well-known piece was particularly poignant, as hercurrent teacher, Professor Wolfram Koenig,premiered it a few years prior. Here theaudience experienced a true emotional roller-coaster between the wild, perfect dissonances,that hurt one's ears, and softly dying harmonieswhich the young violinist produced withexpressions of pain.
Soaring artistic talent: Brilliant Final Concert
of the Musical Summer in Reepsholt
(Anzeiger fuer Harlingerland, August 12, 2003)The most popular recital was by Se-Young Kim,whose brilliant play developed and continued tobuild into an unleashed passion. Absolutelyoutstanding her performance; spontaneous theaudience reaction - waves of applause. These"Four Seasons" made accessible to the audiencea particular manner of presentation in whichVivaldi takes an exceptional position