Mozart married Constanze Weber in 1782, and it is thanks to her diligent curation of ‘these marvellous relics’ that we have these rarely heard fragments including fugues which reveal the influence of Bach and demonstrate Mozart’s agility with sophisticated contrapuntal techniques. The more substantial Rondos have gained popularity with their memorable themes and musical depth, while forays into Baroque style can be heard in the unfinished Suite. These, the improvisational Fantasias and a mocking parody of a Funeral March all highlight neglected facets of Mozart’s oeuvre.
Rorianne Schrade has reviewed Sang Woo Kang’s October 16, 2014 Hunter College concert for the New York Concert Review, praising his “razor-sharp” performances of Corigliano, Mozart, and Chopin. Read the full article here!
This summer, Pianist Sang Woo Kang will return to the Atlantic Music Festival for an exciting fifth season! Dr. Kang, program director of the Piano Institute and Seminar, will join other world-renowned artists and top faculty in the cultivation of young artists and the promotion of new music. The season will run from July 8 to August 4, and offers plenty of free chamber, orchestral, and solo concerts sure to please everyone. For information about upcoming concerts and other events, please go to the Atlantic Music Festival’s website for season calendar.
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Acclaimed pianist and Ewha Woman’s University faculty member Kwiran Lee performed a dynamic and engaging solo recital of Bach, Mozart, and Schumann at Sejong Chamber Hall on June 16 at 7:30 p.m. A former student of renowned fortepianist Malcolm Bilson, Ms. Lee’s extensive background on period instruments shows in her treatment of the works on her program, even on a modern concert grand.
Attributes of her playing include delicacy of touch and clear interpretations, with subtle hints of pedal.
Minimalism — Dictionary.com defines the movement as “a reductive style or school of modern music utilizing only simple sonorities, rhythms, and patterns, with minimal embellishment or orchestrational complexity, and characterized by protracted repetition of figurations, obsessive structural rigor, and often a pulsing, hypnotic effect.”
Two years ago, I wrote a blog post about the experience of hearing Philip Glass’s “Mad Rush” at a concert, and noted back then that this was music that could be extremely beautiful both in its attractive textures, consonance, and hypnotism. On the other hand, I found it an extremely limited musical language […]
I think it’s fascinating to see the degree to which different kinds of artists are inspired by music. In literature, poems like T.S. Eliot’s Four Quartets, techniques like the sprung rhythm in Victorian poet’s Gerard Manley Hopkins’s sonnets, or the novella The Kreutzer Sonata by Leo Tolstoy are testament to that fact. But what about visual art? We’ve already seen in John Cage’s Notations that the visual element can be an important aspect in these composers’ attempts to represent sound. It’s equally fascinating to see how various visual artists were likewise inspired by music. […]