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Mozart Recital (2023)

“Mozart’s music is full of life and power, encompassing the full spectrum of human emotions and transcending all eras and cultural boundaries. Compiling this album brought me waves of joy, and the feeling of personal connection to Mozart's spirit.”

— Su Yeon Kim


AllMusic Guide - Album of the Year 2023 *****

"Where to begin with the wonders of this album by the young pianist Su Yeon Kim, making her debut on the Steinway & Sons label? She should fit right in there, mixing charisma with the bold pianistic approach the label favors. Kim manages to dredge up some Mozart works that are genuinely unfamiliar, make good cases for them, and execute them brilliantly. (...) There are many more attractions here for listeners to discover, among them Steinway's clear sound from the Sono Luminus studios, in one of the finest Mozart recitals to come along in some time." - James Manheim  (full article) (September 2023) *****

“The South Korean pianist’s playing is a joy, and this album reveals her as a Mozartian through and through... a beautifully constructed programme, full of contrasts: serious, playful, extrovert, introspective, dancing, operatic.” 

- Rebecca Franks  (full article)

Ludwig van Montreal (July 2023)

“Distinguished by an incisive and very articulate approach, the pianist brings a breath of fresh air with her lively, airy interpretation, tinged with humor, a pearly and delicate touch but still full of strength, very virtuoso in fast passages... with the required sensitivity in the slow movements.” 

- Caroline Rodgers (full article)

Infodad (July 2023)

"It will be very, very interesting if Su Yeon Kim, who is still in her twenties and thus of an age similar to Mozart’s when he wrote much of his piano music, produces a Mozart sonata cycle of her own. (...) so light, well-balanced and
insightful that it bodes very well indeed for a possible set of all 18 sonatas.
Whether or not that is in the future, having these two available now is wonderful." (full article)

Sequenza 21 (September 2023)

“Her tempos are well-selected and use of embellishment judicious and executed with finesse. The D major sonata is enthusiastically imbued with the con spirito marked in the first movement. The Andante con espressione is played tenderly, with lovely dynamic shadings. Kim’s playful interpretation of rubato lends to the Rondo finale’s appeal, as do the whirling dance rhythms and quick scalar passages.” - Christian Carey (full article)

Magazin (May 2024)

"In her selection from the '12 Contretanzen für die Graf Czermin' KV 269b, she shows with lively creative play how much musical substance there is even in such 'occasional works' by Mozart that are superficially hastily dismissed. (...)

In contrast, Kim also moves in these spheres with a sure sense of emotional, dynamic and harmonically subtly shaded sensitivities.

 - Oliver Bernhardt (full article)

International Piano Magazine (September 2023)


- David Threasher

Textura (September 2023)

“<Mozart Recital> is a case where exceptional technique partners with a
deep grasp of a composer’s sensibility to produce a recording of authenticity and impact.”  (full article)

Classical Candor (September 2023)

"Mozart gives us a variety of emotions, and Su Yeon Kim brings a deft touch to the keyboard that brings balance to the proceeding(...) then closes her recital with the meltingly beautiful Franz Liszt arrangement of Mozart’s Ave verum corpus." - Karl Nehring (full article)

Gapplegate Classical-Modern Music Review (September 2023)

“Every inch of music heard on this album... shows Su Yeon Kim as a master of her art and an extraordinary painter of tonal images. It brings to us a side of Mozart pianism not as frequently heard as we might like, the rubito articulate poet, the deep wielder of extraordinary subtle power.” 

- Grego Applegate Edwards (full article)

Gramophone Magazine (September 2023)


Diapason Magazine (January 2024) *****

"What a pleasure to discover Su Yeon Kim's naturally lilting manner ... a luminous vivacity, with a delicate singing tone...”


- Bertrand Boissard

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