Magnificent Schubertiade from Chloe Jiyeong Mun in the Harold Acton Library in the British Institute in Florence.
The eight Impromptus played with such rapt concentration and subtle ravishing beauty that you could have heard a pin drop such was the atmosphere created.
Winner, like Martha Argerich,of both Geneva and Busoni competitions when only a teenager.Just twenty four hours before the recital she was still working with Andras Schiff in Berlin extracting the secrets together that are hidden deep in the music and that only very few can find the key to.
A musical feast was guaranteed for this last recital of the season with three past winners of Busoni presented in collaboration with the Keyboard Trust.
An old Bechstein that she adored and gave her the means to transmit the magic world of Schubert with freedom and beauty.
Whispered secrets drew the audience in to her with the intimate confessions of a composer who was to have such a short life on this earth but who lives on forever in his seemingly endless outpouring of poetry of poignant beauty.
The magic carpet that had brought her to Florence at the last minute from Berlin was waiting to whisk her off to Korea during the night.A vision of beauty that descended on Florence for only a few hours but for which all those present will always be eternally grateful.
A sumptuous feast of music and not only, thanks to the Gammell’s who had also prepared a culinary feast.
If Music be the food of love ……perchance to dream ….please play on …..the world is in such need of poetry and beauty.
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It played her as the physical side of playing just disappeared where the delicacy and superhuman control of subtle sounds seemed to come directly from within the instrument without any trace of personal percussive gymnastics.There were seemless streams of golden sounds in the second Impromptu so rudely interrupted by the animal like excitement of the central episode.The melodic line in the G flat impromptu was barely audible but her control of sound allowed the flowing accompaniment to be so quiet that it miraculously sustained but never overpowered this sublime melodic outpouring in it’s midst.The duet between the deep bass and the soprano lines was a refined opening to an almost operatic world soon dispelled with the magical return of the opening melody.The shimmering beauty of the fourth was contrasted with the passion of the central episode played with red hot temperament that swept all before it.
Schubert Impromptus are a series of eight pieces for solo piano composed in 1827. They were published in two sets of four each: the first two pieces in the first set were published in the composer’s lifetime as Op. 90; the second set was published posthumously as Op. 142 in 1839 (with a dedication added by the publisher to Franz Liszt ).The third and fourth pieces in the first set were published in 1857 (although the third piece was printed by the publisher in G major, instead of G♭ as Schubert had written it, and remained available only in this key for many years). The two sets are now catalogued as D. 899 and D. 935 respectively. They are considered to be among the most important examples of this popular early 19th-century genre.
This second set is on a larger scale than the previous ones and I well remember Annie Fischer and Rudolf Serkin playing them as a whole like a complete sonata.
The first opens with an imperious declaration leading to a subtle playful dance that dissolves into a heartrending duet over a florid unruffled accompaniment.
Ravishing beauty flowed from Chloe’s sensitive hands that brought something of the sublime to this seemingly simple outpouring of mellifluous fragments.
There was a stillness to the second Impromptu as Chloe barely touched the keys.Even the more imperious replying phrases were played with a subtle sense of shading always moulded into the overall shape of this most sweet of all Impromptus.The flowing central section seemed to grow naturally out of the opening melodic line awaiting the whispered return of the beautiful opening phrases.
The theme and variations of the third were played with a delicacy and jeux perlé of such natural simplicity which just gave a golden glow to the streams of sound that floated from the keys.
The seemingly simple dance of the last Impromptu suddenly got caught in a whirlwind of excitement and dynamism leading to the final plunge to the bottom of the keyboard.
A tour de force of piano playing where a superhuman control of sound allied to a refined musicianship was truly Art that conceals Art .
The music just flowed through her directly to an audience that was truly mesmerised by the simple whispered beauty that she shared with us.
The little ‘Moment musicaux n 3 in F minor of such beguiling charm and simplicity was the ideal ending to a magical Schubertiade from a great artist.
Chloe Mun at the Duszniki Chopin Festival Refined perfection and aristocratic simplicity
ChristopherAxworthy-MusicCommentary 
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