Seong-Jin Cho

Seong-Jin Cho – Winner Of The 17th International Fryderyk Chopin Piano Competition Warsaw 2015 (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:33 minutes | 1,17 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)

Deutsche Grammophon is proud to present the debut solo album from Seong-Jin Cho, winner of the 17th International Chopin Piano Competition. Cho took the coveted first prize, among the most prestigious titles in the world of classical music. He was named winner on Tuesday 20 October 2015, following three weeks and four stages of competition in Warsaw. This recording contains highlights from the 21-year-old South Korean pianist’s recital rounds.

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Seong-Jin Cho – The Wanderer (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:04:19 minutes | 1,08 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)

The current trend is to give a generic title to classic albums. Here, “Der Wanderer” is obviously the title of Schubert’s Fantasy, but it is above all the very symbol of German Romanticism in its tireless and almost metaphysical quest for inner peace through poetry and nature. One may well wonder whether the Berg and Liszt sonatas really fit such a description.

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Seong-Jin Cho – Mozart: Piano Concerto No. 20, K. 466; Piano Sonatas, K. 281 & 332 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:09:29 minutes | 1,24 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)

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.

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Seong-Jin Cho – Debussy (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:47 minutes | 1,09 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)

Since the pianist’s early days, the South Korean Seong-Jin Cho (1994) has professed a fondness for French music in general and Debussy in particular. At his first public performance at the age of eleven, he played Children’s Corner by Debussy. When he decided, in 2012, to pursue his musical education abroad, he chose Paris, and the Conservatoire National Supérieur, where he frequented the classes of Michel Béroff, the undisputed expert on Debussy. Cho has come back to work again with his old teacher, who became a friend, with the aim of creating his own Debussy album; the choice of works here is “restricted” to works requiring a middling level of virtuosity – mechanical exhibition isn’t his thing, even though he has amply mastered his instrument – but whose poetical content allows the pianist to show off his own exquisite expertise as a musician. An homage to his own childhood, Children’s Corner, but also the two books ofImages and the exquisite Suite bergamasque. Let’s not forget that Seong-Jin Cho won Warsaw’s 2015 Chopin Prize, a sure-fire ticket to an international career.

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Seong-Jin Cho – Chopin: Piano Concerto No. 2; Scherzi (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:19:01 minutes | 1,36 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)

Seong-Jin Cho is not only an outstanding pianist, he is also the lucky winner of the 17th Warsaw Chopin Competition in 2015, the “Olympics of pianists” – at least concerning Chopin’s repertoire. Five years after his great success and the recording of Chopin’s Piano Concerto No.1 (Deutsche Grammophon), now comes his successor in F minor, the Piano Concerto No.2. Cho spends once again time in the studio with the London Symphony Orchestra and Gianandrea Noseda, completing the romantic concerto series.

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Seong-Jin Cho – Chopin: Piano Concerto No. 1; Ballades (2016/2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:23:09 minutes | 1,48 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)

Pianist Seong-Jin Cho was the first prize winner at the prestigious International Chopin Piano Competition in Warsaw one year ago. On the anniversary of that win, Cho’s first ever studio recording on DG presents Chopin’s 1st Piano Concerto with the LSO and Gianandrea Noseda recorded at Abbey Road Studios, as well as the Chopin’s four Ballades. “Everything is poetic, introspective, graceful” – Financial Times

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Seong-Jin Cho – The Handel Project: Handel-Suites & Brahms-Variations (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:05:27 minutes | 1009 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)

The sensational South Korean pianist Seong-Jin Cho, the best-selling winner of the International Chopin Competition, shares his love for an often neglected corner of the keyboard repertoire: Handel’s Keyboard Suites. Each suite is brilliantly characterful and brimming with life, and Cho has selected his three absolute favourites to play in full. Another lover of Handel’s Keyboard Suites was Johannes Brahms – so Cho pairs the suites with the later composer’s spectacular ‘Handel Variations’ op. 24. Cho finds that Baroque music gives the performer a good deal of leeway. ‘You can use a certain amount of pedal and play these works in a very Romantic way’. As a result the Korean pianist has sought as far as possible to avoid using the sustaining pedal ‘in order to ensure greater clarity’. On the other hand, he has altered some of the dynamics in order to exploit the possibilities of a modern piano. ‘I really worked on my technique a lot as I wanted to bring out all of the voices. I tried to maintain different colours in them all. And I imagined a concerto grosso. The lefthand voice, for example, could sound like a bassoon. Or a voice in the right hand could sound like a violin’.

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