Piano Recital: Eddie Myunghyun Kim
March 31, 2026
C. Schumann – 4 Pièces fugitives, Op. 15
Composed in 1845, this work dates from a period of artistic maturity for Clara Schumann. These four character pieces are distinguished by sophisticated harmonic progression and lyrical melodicism. Although the musical influence of her husband, Robert Schumann, is perceptible, the pieces demonstrate an independent pianistic style and structural clarity. As a significant testament to 19th-century female compositional art, they combine classical formal rigor with the progressive harmonic tendencies of their time.
R. Schumann – Carnaval, Op. 9
Completed in 1835, this cycle consists of 21 short pieces that are organically interconnected. The work was largely inspired by the masquerade ball scene from Jean Paul’s novel Flegeljahre (The Awkward Age). Schumann uses the musical cipher “A-S-C-H” (the letters of the hometown of his fiancée at the time) as a central motif. Within the work, he portrays literary figures as well as his own fictional alter egos, Florestan and Eusebius, alongside contemporaries such as Chopin and Paganini. The work is considered a milestone of Romantic program music.
Dong-Myung Kim – Paradox of Reflection for Piano (2026) (World Premiere)
This work was composed based on inspirations gained from encountering various recent artworks. The beauty created by balance and symmetry, along with the craftsmanship felt in sophisticated structures, led to a deep interest in precise constructions. To this end, the exact division of the piano’s 88 keys into halves to form a symmetrical structure was established as the starting point of the composition. This principle was consistently implemented throughout the notes, rhythms, and the overall structure. However, during the compositional process, it became increasingly clear that musical symmetry and balance transcend mere visual elements, acting as a complex interplay of various factors such as sound energy, density, tension, and release. The answer may lie in the sound itself and might only find its completion through the performer on stage.
A. Scriabin – Piano Sonata No. 2 in G-sharp Minor, Op. 19
This sonata, also known as the “Sonata-Fantasy,” was composed between 1892 and 1897. It marks a transitional phase in which Scriabin’s early style, influenced by Chopin, meets his later mystical harmony. The two-movement work contrasts a lyrical, rhapsodic unfolding in the first movement (Andante) with a stormy, relentless rhythm in the second movement (Presto). Inspired by Scriabin’s sea voyages, the sonata combines traditional sonata form with a free, visionary structure.
A. Scriabin – Piano Sonata No. 5, Op. 53
Composed in 1907, this single-movement sonata represents a radical turning point at which Scriabin abandons the traditional tonal system and turns toward “mystical harmony.” The work was written immediately after the symphony Le Poème de l’extase and shares its philosophical background. Through extreme dynamics and complex polyrhythms, the music creates an unprecedented energetic tension. This sonata is a monumental work of modernism that demonstrates the dissolution of tonality and the establishment of a new tonal order.