(4 / 5)

In Ravel’s 150th birthday years lies the opportunity to hear much more of his music. Those bored of Bolero and are driven mad by Mother Goose, may find solace in concerts like this. Seong-Jin Cho was the winner of the First Prize ten years ago at the Chopin International Competition. He has truly made a name for himself as was proven by this busy concert at the Barbican.

To have done in one night the entirely of Ravel’s lifetime of piano work is no mean feat. The first set showcased early work including the delightful Jeux d’eau and the instantly recognisable Pavane pour une infante défunte. The rest here prove less interesting, you fell he finest quite master things until he goes on in his career. Seong-Jin is stimulating to watch play, performing entirely from memory. The talent of this pianist should never be doubted. His furious attacks and fluid patters are the utmost poetry. I think I could hear him breathing and panting at times.

What really sold his was the second set of Miroirs and Gaspard de la nuit. Ravel is alive her with total impressionism, expressive and bold playing for Seong-Jin who makes worms meat of the score. Great to hear Ravel in more experimental modes, as some moments would evoke Messiaen perhaps even Ligeti latter music. Birds and boats are the imagery, seascapes and night time musings. Gaspard de la nuit is also a treat for its impassioned state, its touching sweetness too.

The last set looked the longest and felt like it. Valse nobles et sentimentales was the bulk, impressive for its major pallet of dance and conventions. Further preludes are slight and passable. Le tombeau de Couperin, which he later orchestrated is another joy, evocative and some of his most essentially happy music, even out of the WW1 context. Through it all it was Seong-Jin’s determination and utmost respect for the material that rang through. His talents are plentiful, his endurance a standout.