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07June
Schubert Wednesdays at 5
"...[Franziska Lee] presents herself as completely unpretentious and unadorned; she makes music with sparing, completely appropriate movements - no longer a matter of course these days. She uses her impeccable ‘craft’ as if in passing - piano technique as a prerequisite, not worth mentioning, for making musical progressions audible."location_on by Claus-Dieter Hanauer
15.03.2025 location_on 8:00 AM - 9:00 AMSchubert Wednesdays at 5
The piano recital by Jee-Eun Franziska Lee
‘The art of music buried here a rich possession, but even more beautiful hopes’. This is how Franz Grillparzer's epitaph reads on Schubert's epitaph in the former Währing cemetery, today's ‘Schubert Park’, where the composer was laid to rest on 21 November 1828. But these ‘much more beautiful hopes’ had long since become reality. Schubert's mighty Sonata Trio (D 958-960), for example, was not published for the first time until 1838, a decade after his death. Robert Schumann tracked down his great C major Symphony (D 944) in the library of the Gesellschaft der Musikfreunde in Vienna following a tip-off from Ferdinand Schubert, the composer's elder brother, and arranged for it to be published by Breitkopf & Härtel and performed for the first time by the Leipzig Gewandhaus Orchestra under Felix Mendelssohn Bartholdy on 21 March 1839. It is thanks to pianists such as Eduard Erdmann and Artur Schnabel that Schubert's piano sonatas were the first to be included in their concert programmes, a whole century after his death, and it is to the lasting musical-historical credit of pianist Alfred Brendel that he made these works by Schubert known to a wider audience in the 1970s with the help of the mass medium of television. They have been part of the repertoire ever since.
Despite all this, it takes a lot of courage to ‘limit’ a recital to works by Schubert - such piano recitals are equally demanding for the artist and the audience. And it takes a lot of strength to keep the ears ‘in line’. Jee-Eun Franziska Lee has this courage and strength. Her recital on 12 March 2025 in the lecture hall of the Baden State Library as part of the ‘Wednesdays at 5’ series of events organised by the Kulturfonds Baden, the University of Music and the State Library combined the piano sonatas in A minor D 537, G major D 894 and A major D 959.
The appearance and playing of the pianist, who was born in Seoul in 1988 and leads a masterclass as a professor at the State University of Music and Performing Arts in Stuttgart, is completely unpretentious and unadorned; she performs with sparing, completely appropriate movements - no longer a matter of course these days. She uses her impeccable ‘craft’ as if in passing - piano technique as a prerequisite, not worth mentioning, for making musical progressions audible.
Schubert's three-movement Piano Sonata in A minor D 537, composed in March 1817 but not published until 1852, is approached with classical rigour, so that the spiritual and compositional proximity to Beethoven ‘catches the ear’. The chords in the opening movement (Allegro ma non troppo) are clear and suitably massive, the falling semiquaver figures that lead the movement into the song-like realm are very clear and by no means motorised. She is able to show how so much of what characterises Schubert's tone in the later sonatas can already be heard in this work, such as the striking interruptions of melodic lines, the melancholy borne by superficial naivety and, especially in the very Viennese-like middle movement (Allegretto quasi andantino), where a cantabile upper voice in octaves is countered by quietly threatening chord staccatos in the bass. It was certainly no coincidence in the pianist's programme planning that the A major Sonata D 959 followed at the end of her performance. In the finale of this sonata, completed eleven years later, Schubert once again takes up the wonderfully calming theme of this middle movement - with an even more moving effect. The finale (Allegro vivace) with its constantly surging energy of movement is rich in contrast and - by no means out of style - with Beethovenian dynamics.
The large, four-movement and technically demanding Sonata in G major D 894 was composed two years before Schubert's death in October 1826 and, published in 1827 with a dedication to his friend Joseph Edler von Spaun, is one of only three piano sonatas to appear in print during his lifetime. Although its four movements - I. Molto moderato e cantabile, II. Andante, III. Menuetto: Allegro moderato - Trio and IV. Allegretto, which in their sequence (sonata movement, andante, minuet, rondo) correspond to the conventional pattern of the sonata, it is nevertheless ‘quasi una fantasia’, far removed from its classical predecessors in its expressive characteristics. Robert Schumann hit the nail on the head with his assessment that ‘the fantasy sonata seems to us to be his most perfect in form and spirit’.
Lee begins the first movement in a pensive, melancholy mood, taking the dotted chords into consideration and allowing the music to spin on before the musical progression picks up speed with the secondary theme and both themes are continued in ever new twists and turns. In the slow movement that follows, she does the sharp contrasts between the sweetly songlike and the effervescently dramatic the highest justice and does not fall into the temptation to widen the andante inappropriately: Her Schubert moves. She continues this contrast in the minuet - the B major trio almost makes you forget the unforgiving B minor opening. The Rondo Allegretto exudes a relaxed, almost cheerful atmosphere under her hands, completely absorbed by Schubert between song and dance.
Schubert's last three piano sonatas D 958-960 are, despite earlier sketches, the astonishing result of a seemingly vital explosion of creativity in his last months - as if he had been aware of the narrow limits his life would have. After Beethoven's funeral on 29 March 1827, Schubert is said to have made the foreboding toast in the presence of his friends Benedikt Randhartinger and Franz Lachner: ‘To the one of us three who will be the first to succeed our Beethoven.’
This sonata triad, which was only published in 1838, can certainly be seen as a legacy that broke new ground for the genre after Beethoven's monumental sonata works. This ‘new path’ was evident in the pianist's powerful and dynamically differentiated playing in the A major Sonata D 959: Already in the opening movement (Allegro), Beethoven's sometimes almost logical directness, his striving for thematic confrontation in Schubert is interwoven and replaced by dance-like grace and a perpetually spun melodic richness, among which the darkly fatalistic, even nightmare-like (the F sharp minor Andantino with its Winterreise mood and its cadenza-like middle section explosion, for example) are mixed. Schubert actually becomes ‘romantic’ here when he consciously leaves behind the balance of classical models, as is evident in the subtleties of the Scherzo and the concluding Rondo.This is no longer the aura of Goethe and Schiller, but that of E.T.A. Hoffmann or Jean Paul!The melodic simplicity of the rondo finale fills us with deep melancholy, especially when this finale is approached as straightforwardly and ‘naturally’ as Lee.A major can be sadder than any minor and the general pauses at the end of the movement seem to cry out, so that the virtuoso conclusion leaves behind nothing but a grotesque.-
Lots of applause! And a surprise: the President of Kulturfonds Baden e.V., Senator Mathias Tritsch, presented the pianist, who received the Kulturfonds Baden sponsorship award in 2015 and is associated with the Kulturfonds through numerous concerts, with a sculpture from Majolika Karlsruhe with a dedication engraving as part of a short laudatory speech.
Schubert's work lives on. His piano sonatas have become an integral part of the repertoire. We owe this to such courageous and competent musicians as Jee-Eun Franziska Lee.
by Claus-Dieter Hanauer
Translated with DeepL.com (free version) -
07June
A homage to Schubert
"...The pianist succeeds magnificently in realising this mystical, heart-rending lyricism instrumentally. The last movement of the piano sonata ends hymn-like, Lee perfects the drama here, firing the shrill dissonances in the high notes and ending the work with a breathtaking, frenzied flow that then ebbs away (...) The agitated audience thanked the artist with thunderous applause and many bouquets of flowers."location_on by Steffen Reinhold
11.03.2025 - Pforzheimer Zeitung location_on 8:00 AM - 9:00 AM
On Monday evening, Pforzheim's Domicile jazz club became a concert platform in a class of its own: after five years, Axel Klauschke managed to engage one of the leading international up-and-coming pianists. The Korean Franziska Lee presented her
programme of three Schubert sonatas to the audience in the sold-out club.
The Korean-born pianist chose the stage name Franziska for good reason, as the Austrian composer is her "favourite composer", according to Lee. And this is exactly what the audience heard and felt. Lee had worked on Schubert sonatas from three phases of the Viennese composer's life. The first work she played was the Sonata in A minor (D 537) from 1817, when Schubert was just 20 years old.
Brilliant interpretation
In this work, you can still hear the influence of Ludwig van Beethoven on Schubert's three-movement composition. Initially full of vigour and exuberant youthfulness, the middle movement is like a cheerful spring stroll, dance-like and graceful. The last movement is agitated and restless, full of the intense emotions of a young man. Lee's interpretation was brilliant: In contrast to many other piano virtuosos, she did not douse this composition with that Biedermeier, lullaby-like icing, but delivered a fresh and pointed interpretation.
Poignant piano work
The four-movement Piano Sonata in G major (D 894) from 1826 is from Schubert's "late work", who died at the age of 31. In this composition, the Viennese composer had already emancipated himself from Beethoven and we hear a moving piano work full of peace and sanctity. Lee begins the first movement solemnly, majestically, initially rippling along and suddenly interrupted by stormy and sombre fortes in the bass. Lee's hands fly over the keyboard, the strokes with his left hand sound like a menacing tower clock that repeatedly warns that time is running out. And this just two years before Schubert's early death. In the Andante, one hears Mozartian lightness, but interrupted by biting discord. The last movement is then full of musical humour, one thinks one is hearing an Austrian peasant dance. The final work is the Sonata in A major (D 959). The composer completed this pianistic masterpiece three months before his death. Its sound is full of death and sadness, a rollercoaster of emotions. The pianist succeeds magnificently in realising this mystical, heart-rending lyricism instrumentally. The last movement of the piano sonata ends on a hymnal note, Lee perfects the drama here, firing the shrill dissonances in the high notes and ending the work with a breathtaking, frenzied flow that then ebbs away.
Excited audience
Lee managed to ennoble the Brötzinger Jazzclub into a classical concert stage. The excited audience thanked the artist with thunderous applause and many bouquets of flowers.
by Steffen Reinhold - Pforzheim
Translated with DeepL.com (free version) -
07June
Agile and multi-faceted
‘... Franziska Lee conveys all these very different works with a nuanced touch, vividly shaped upper voices that show both subtlety and substance, but also with a feeling for the overall dramaturgy of the works...’location_on by Daniel Hennigs
27.10.2021 - Badische Neueste Nachrichten location_on 8:00 AM - 9:00 AM
Agile and multi-faceted
Following her CD "L'heure exquise", which was released by the classical music label Capriccio in 2018 and featured French piano music from the 20th century, the 31-year-old pianist Franziska Lee, who comes from South Korea and has lived in Karlsruhe for many years, has dedicated her new album to English music from the same era, which was recorded at the Wolfgang Rihm Forum of the Karlsruhe University of Music at the end of September 2020. The CD entitled ‘London Nights’ will be released on 5 November. The works represented range from the "Three Sketches for Piano" composed by Frank Bridge in 1906 to Michael Tippett's 1st Piano Sonata, completed in 1937 and revised in 1942.
New CD by Karlsruhe pianist Franziska Lee
In addition to the contemporary English composer par excellence, Benjamin Britten, the lesser-known composers John Ireland and Arnold Bax are also featured with works from the first third of the 20th century, which is characterised by the fusion of late Romanticism, extended tonality and neo-classical tendencies and has led to a characteristic, warm tonal language, particularly in English music. This often exhibits a charming balance between beauty and brittleness of sound.
This is also confirmed by Franziska Lee's multi-faceted, agile and crystal-clear piano playing, for example in the Sonata in F sharp minor by Arnold Bax from 1910 or Benjamin Britten's varied ‘Holiday Diary’ op. 5. However, it is not only these attributes that characterise the music: The work by John Ireland that gives the album its name, ‘Ballade of London Nights’ from 1930, for example, is much more about fragile, shimmering soundscapes full of lightness, which are also reminiscent of the frivolity and flightiness of city life. Frank Bridge's aforementioned ‘Three Sketches’, on the other hand, are almost reminiscent of the playfulness of Art Nouveau ornaments in their dance-like feel.
Franziska Lee conveys all of these very different works with a nuanced touch, vividly shaped upper voices that display both subtlety and substance, but also with a feel for the overall dramaturgy of the works. At the same time, the second CD also reveals Franziska Lee's clever approach: Anyone who wants to hold their own in today's world with its high density of pianists would do well to take on lesser-known works that are worth listening to. Anyone who wants to hear some of the pieces on the CD live will have the opportunity to do so at Franziska Lee's piano recital on 31 October in Hohenwettersbach.
Daniel Hennigs
Translated with DeepL.com (free version) -
07June
Tears of joy and emotion
“... The pianist began the first movement (Molto moderato) with tender gentleness and a discreetly melancholic touch, but also with dignified tension, ending on a blissfully dreamlike phrase. This was followed by the slow second movement (Andantino) in F-sharp minor which surpassed all previous forms of expression, as climax of the work. Lee allowed its melodic beauty to blossom into full glory. After the lively Scherzo of the third movement the final movement (Allegro ma non troppo) was followed by long applause. Quite a few listeners had tears in their eyes: tears of joy and emotion.“location_on by Horst Hacker
September 10, 2021 - Memminger Zeitung location_on 8:00 AM - 9:00 AM
Concert - South Korean pianist Franziska Lee inspires the audience at the Schickling Foundation
Ottobeuren. In welcoming the forty guests the host Ulrike Meyer said she was "Very proud and very happy" to be able to introduce the present pianist Franziska Lee to the Schickling Foundation. "Especially in the second half with the great Schubert sonata. She will perform challenging pieces. The pianist who was born in Seoul, South Korea, in 1988 and now lives in Karlsruhe, actually has the first name Jee-Eun. She chose the name Franziska as a tribute to her favorite composer Franz Schubert (1797 to 1828).
She has been praised as a “lyrical jewel". She opened the four-part piano recital with Schubert's Impromptu in F minor, D 935 No. 1 (Allegro moderato). Very dramatically, even explosively, she began this smaller piano piece from December 1827 with a powerful chordal touch. Completely harmonious and inaudible were the subtle movements of the left hand over the right hand. And breathtakingly powerful the brief but irresistibly urgent crescendo into an overpowering fortissimo. The auditorium thanked her for this display of pianistic lyricism with great applause.
The 555 sonatas for harpsichord which the Neapolitan composer Domenico Scarlatti (1685 to 1757) left to posterity show that quality and quantity need by no means be opposites. Franziska Lee impressed with the extremely individualistic Sonata in D major L. 424 K. 33. She set a fast brisk tempo by no means in the usual Central European baroque manner. This did not detract at all from the distinctly dance-like character of the one-movement work.
Lee interpreted the Etude op. 8 No. 10 by the Russian composer Alexander Nikolayevich Scriabin (1872 to 1915) with such tempo that the surge of sound sometimes threatened to cause dizziness. Her fingers literally whirled over the keyboard of the grand piano, exploring the full range of its tonal possibilities in the shortest possible time. It was fully apparent that Scriabin's music is considered to be overflowing with a wide variety of musical influences. The young Korean put all the nobility of her masterful pianistic playing into Franz Schubert's "great" four-movement Sonata in A major (D 959). The performance of the monumental work took a full 35 minutes.
Written shortly before Schubert's much too early death in September 1828, the sonata is considered the crowning achievement of his oeuvre, and at the same time a compositional legacy. The pianist began the first movement (Molto moderato) with tender gentleness and a discreetly melancholic touch, but also with dignified tension, ending on a blissfully dreamlike phrase. This was followed by the slow second movement (Andantino) in F-sharp minor which surpassed all previous forms of expression, as climax of the work. Lee allowed its melodic beauty to blossom into full glory. After the lively Scherzo of the third movement the final movement (Allegro ma non troppo) was followed by long applause. Quite a few listeners had tears in their eyes: tears of joy and emotion. -
07June
Demonical possession and colorful sound
“In Franz Liszt's immensely difficult Sonata in B minor, Franziska Lee was able to pull out the whole register of her great pianistic skills. She impressively shaped the contrasting characters of the themes and owed nothing to the demonic nature of the work. Whether daring leaps, pearly figurations, octave cascades or haunting romantic lyricisms - Franziska Lee was always the master of the situation in the highest concentration. The audience was right to applaude enthusiastically.“location_on 03.11.2020 - Badische Neueste Nachrichten location_on 8:00 AM - 9:00 AM“On the last evening before the second Lockdown, music enthusiasts in the Catholic Church in Karlsruhe-Hohenwettersbach were able to enjoy rousing live interpretations.
Edvard Grieg's popular Peer-Gynt-Suite could also inspire in the composer's four-hands version. Sontraud Speidel and Franziska Lee succeeded in conjuring up the different moods of the individual scenes with highly cultivated colorful sound and in perfect interplay. Ekaterina Merzliakova showed her highly professional skills in two movements of the Partita in D minor for solo violin by Johann Sebastian Bach: clearly structured, with beautiful lines and a noble tone, she completely won over her audience.
In Franz Liszt's immensely difficult Sonata in B minor, Franziska Lee was able to pull out the whole register of her great pianistic skills. She impressively shaped the contrasting characters of the themes and owed nothing to the demonic nature of the work. Whether daring leaps, pearly figurations, octave cascades or haunting romantic lyricisms - Franziska Lee was always the master of the situation in the highest concentration. The audience was right to applaude enthusiastically.“ -
07June
A great emotional panorama
The last Schubert concert series in the “Kleine Kirche”“Sontraud Speidel and her master student Jee-Eun Franziska Lee had undertaken the task to perform all (!) of Schubert's works for piano for four hands in five concerts over the course of twelve months as part of the benefit campaign for the new organ in the “Kleine Kirche”. This was an admirable achievement in view of the abundance and richness of Schubert's works in this genre…”location_on December 13, 2019 - Badische Neueste Nachrichten location_on 8:00 AM - 9:00 AM
“There are many prejudices about famous composers: Beethoven, the headstrong titan; Mozart, the “Hallodin” with light-footed angelic music; Bach, the composer of complex church music and so on - and Franz Schubert, the epitome of the sentimental and depressive artist. Schubert's life which was not always easy, was certainly reflected in his works: lack of recognition as a composer, the sometimes inadequate ability to market himself, as well as the lack of family support added many a melancholic note into the works of Schubert who, due to circumstance, remained a bachelor throughout his life - but also a great deal of emotional depth.
That this depth also includes joy, enthusiasm and radiant moments, and thus the prejudices about Schubert's music can be clearly refuted, was evident at the final concert of the series "20 Fingers for Franz Schubert" in the nearly sold out “Kleine Kirche”. Sontraud Speidel and her master student Jee-Eun Franziska Lee had undertaken the task to perform all (!) of Schubert's works for piano for four hands in five concerts over the course of twelve months as part of the benefit campaign for the new organ in the “Kleine Kirche”. This was an admirable achievement in view of the abundance and richness of Schubert's works in this genre, but also due of the difficulty of playing piano four-hands on one piano instead of two: the limited space that hands have to share and the frequent interlocking and overlapping of the hands of both pianists are additional challenges that are added to the mastery of the musical scores.
The great B-flat major Sonata and the F minor Fantasy were the main works in the last concert which was aptly titled "Passion and Desire"; in addition there were four quite catchy and occasionally light-footed variation works, a mostly strong-sounding and expressive Rondeau brilliant in E minor (D. 823) and the three striking military marches (D. 733), the first of which became particularly well known in a virtuoso version for two hands by Carl Tausig. In the B-flat major Sonata (D. 617) the two pianists successfully worked out the characters and themes in cleverly balanced playing, giving the rather friendly-voiced work the disposition of orchestral grandeur. The Fantasy in F minor (D. 940), which is Schubert's most famous four-hand piano work and perhaps even the most famous four-hand piano work at all, was deliberately placed at the end of the concert series as it unites, like a great emotional panorama, all human feelings and moods, from sadness, anger and drama to joy and heartfelt emotion. The abundant applause proved the magnificence of the end of the evening and the whole concert cycle!“ -
07June
Badische Neueste Nachrichten on the CD „L'Heure Exquise"
"... The pianist's play combines clarity and many nuances of color, and she succeeds to create the large format in the Dutilleux as well as the Françaix sonata. The "Suite Française" as well as "Napoli Suite pour Piano" by Poulenc demand an lighter atmospheric approach with many nuances, which Franziska Lee copes masterfully on this CD. "location_on December 29, 2018 - Badische Neueste Nachrichten access_time 8:00 AM - 9:00 AMOn her first CD "L'Heure Exquise", the pianist Franziska Lee dedicated herself exclusively to French music of the 20th century. The student of Sontraud Speidel in Karlsruhe presents the sonatas of Henri Dutilleux and Jean Françaix, two piano suites by Francis Poulenc and a colorfull Toccata by Pierre Sancan. The wide dynamic spectrum of the Seoul-born pianist is captured very well by the recording technique, not only in the weighty Dutilleux Sonata of 1947-48, where the pianist's play combines clarity and many nuances of color, and she succeeds to create the large format in the Dutilleux as well as the Françaix sonata. The "Suite Française" as well as "Napoli Suite pour Piano" by Poulenc demand an lighter atmospheric approach with many nuances, which Franziska Lee copes masterfully on this CD. -
07June
Radio France Musique about the CD „L'Heure Exquise“
Broadcast „Actualité du disque : Françaix, ...“location_on June 11, 2018 Radio France „En Pistes“ access_time
By Rodolphe Bruneau-Boulmier and Emilie Munera
You have heard the prelude of the piano sonata by Jean Françaix, an excerpt from a sophisticated program presented by a musician in her first CD. It was published in the series "Portraits Premiere" of the label Capriccio, which offers to young artists the opportunity to publish their first recordings. This musician is Franziska Lee. The pianist was born in 1988 in Seoul and calls her CD "L'Heure Exquise", her CD is dedicated to our national repertoire. But not with the frequently recorded works by Debussy, Ravel, Faurée, which are so often heard here in the program. No, the pianist goes beyond and plays the works that are so often neglected by our pianists: works by Jean Françaix, Francis Poulenc, Pierre Sancan and Henri Dutilleux. She opens the CD with the Dutilleux Sonata for Piano, and she plays it very well, with a lot of energy and precision, you feel that she has no technical problems, which allows her to focus on everything else. She impressed me from the beginn until the end.
The CD is worthwhile because of its interpreter and and because of the program. Because you do not often hear the Sonata pour Piano by Jean Françaix, he wrote it for the pianist Idil Biret.
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Poulenc also plays a large part of the program on this CD, with his Suite Française, his trilogy Napoli, and Mélancolie, a small piece written in 1940 that is very typical of Poulenc, who, as always, surprises. I told you last Friday about the duality that is often found in the music of Poulenc. But this piece is aimed at the old and the new world, with its harmonies we are between Chopin and Debussy, but it is still Poulenc, played by Franziska Lee.
ORIGINAL
Le prelude de la Sonate pour Piano de Jean Françaix, un programme audacieux défendue par une musicienne dans c'est le premier disque dans la collection Premiere Portraits. C'est une collection du label Capriccio qui laisse la chance à des jeunes artistes d'enregistrer leur premier disque. Et donc cette musicienne elle s'appelle Franziska Lee, c'est une pianiste née à Séoul en 1988 et elle appele son disque de L'Heure Exquise, ca consacre à notre répertoire national mais pas avec les oevres les plus enregistrées, pas de Debussy, de Ravel, de Faurée comme on l'entend souvent dans ce jour de programme. Non la pianiste va plus loin et pioche dans sa répertoire parfois délaissé par nos musiciens avec des œuvres de Jean Françaix, Francis Poulenc Pierre Sancan et Henri Dutilleux. C'est la Sonate pour Piano de Dutilleux que ouvre le disque est qu'elle joue sacrément bien avec beaucoup d'énergie et de précision. On sent qu'elle n'a aucun problème technique, ce qui la permet de se consacrer évidemment sur tout le reste et elle m'a impressionné du début à la fin et vous-même Rodolphe - il y a quelque chose d'énergie, au début vous avez dit quelque chose il n'y a pas un problème technique.
Le disque vous avez compris vaut le coup pour l'interprete et pour le programme, puisqu'on entend pas souvent la Sonate pour Piano de Jean Françaix écrit pour Idil Biret. Poulenc pourqu'elle occupe une bonne partie aussi de ce programme avec sa Suite Française, sa trilogie Napoli et Mélancolie, une petite pièce ecrit en 1940 assez typique de Poulainc qui comme toujours surprend. J'en vous parlée a vendredi dernier de la dualité souvent de la musique de Poulenc, mais cette mélodie a fait appel à l'ancien et au nouveau monde dans ses harmonies nous sommes entre Chopin et Debussy mais c'est bien du Poulenc, joué par Franziska Lee.
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Mélancolie de Francis Poulenc, c'est joué par Franziska Lee, cette jeune artiste qui vient de Corée du Sud et ca s'appelle L'Heure Exquise. Cet extrait de cette collection Premier Portraits chez Capriccio, une collection consacrée aux jeunes musiciciens. On écoutera peut-être prochainement le premier mouvement de la sonate de Henri Dutilleux - avec plaisir - mais oui c'est tout lendemain dans cette emission - oui, et cest souvant un oevre que est jouée par des femmes - oui vous avez raison - femmes comme Geneviève Dutilleux, Marie-Catherine Girod, Claire-Marie Le Guay sont très nombreux d'avoir enregistrée cette sonate. Tu dois y avoir quelque chose qui qui plaît aux femmes dans cette magnifique sonate. -
07June
Two roses for the music
"It's worth every second to listen to the play of the pianist born in Seoul in 1988, and to watch it too: The piano is no longer played here, the piano is lived here ..."location_on by Claus-Dieter Hanauer
December 12, 2017 - Badische Neueste Nachrichten access_time
In her piano recital, Jee Eun Franziska Lee lights up Schubert's sonatas
"Death buries here a rich property, but even nicer hopes," emphasizes the inscription written by Grillparzer on Schuberts Epitaph. But these hopes have long come true, even in the major musical genres. Two months before his death, Schubert had completed a tremendous triad of piano sonatas, which were, however, published until a decade after his death. The monumental finale of this trio, the B flat major sonata D 960, described the climax of a piano evening organised by the Kulturfonds Baden in the Velte hall with the pianist Jee Eun Franziska Lee, dedicated to Franz Schubert and of his sonatas E flat major (D. 568) and A minor (D 784).
It's worth every second to listen to the play of the pianist born in Seoul in 1988, and to watch it too: The piano is no longer played here, the piano is lived here, the movement is reduced to the bare essentials, serving only to the music, in the luminosity of the sound, fineness of the nuances and virtuos access disarmingly sovereign. The lyrical flow she gave to the E flat major sonata and her determination to accentuate the A minor work, the funeral march character of the Allegro, the balladesque of the Andante, and her ability to create lyrical lines between the haunting triplets and ragged outbursts of the finale reveiled how much inspiration this music gave to Mendelssohn and Chopin.
In Schuberts music, Dur can be sadder than any minor, and the modestly murmuring cantabile of the first movement of the B-flat major sonata with its trillers and the subsequent Andante abyss exude everything but cheerfulness. Lee manages to gain an overview in these widening dimensions, alternating between depression and lightening, through ever new accentuation of mood changes and through tense tempi. The halftone abysses of the finale, leading to the Presto-Stretta, got a bit too active, too concrete, but Schubert's musical idea, as he described it in a prose sketch from the summer of 1822, was also complied by the encore, the G-sharp Major impromptu (D899 / 3) in the most serious way: "If I wanted to sing love, it became a pain for me. And if I only wanted to sing pain, it became love "- two roses for the music.
Claus-Dieter Hanauer -
07June
Outstanding culture of sound
Schubert pure: The pianist Jee-Eun Franziska Lee in the Alte Aulalocation_on by Klaus Roß
February 20, 2017 - Rhein-Neckar-Zeitung access_time 8:00 AM - 9:00 AM
Franz Schubert's pianistic sonata oeuvre has still not arrived yet in the concert business in all its diversity, despite famous advocats such as Alfred Brendel or Andras Schiff. Only a few late works are really present, pure Schubert-programmes extremely rare. The recital by Jee-Eun Franziska Lee at the Gesellschaft der Musik- und Kunstfreunde Heidelberg in the Alte Aula of the University with three sonatas from different creation periods of the composer, was all the more remarkable. The South Korean (born in 1988), trained by Sontraud Speidel among others, favoured classical clarity rather than romantic freedom in her Schubert performances, leaving the score speak for itself as unpretentious as it is.
His measured attitude was already good for the little-known early sonata B major D 575, whose cheerfully playful mood Jee-Eun Franziska Lee brought out very sparkling. The song-like E major Andante she shaped into a small lyrical jewel of touching simplicity and intimacy. A solitaire in this program. Also in the much more tart and dramatic A minor sonata D 784, the characteristically cantabile middle movement turned out to be a sensible centrepiece of the performance. Schubert's sheer orchestral passages of increase came from Jee-Eun Franziska Lee without any hardness or heaviness, a further proof of the outstanding sound culture of the Korean pianist currently studying at the Salzburg Mozarteum.
The highlight of the Heidelberg concert evening, however, was undoubtedly her astonishing maturity and sovereign interpretation of the great late A major Sonata D 959, which even did not have to shy away from prominent interpretation comparisons. Grandiosely wide-ranging the first movement, filled with symphonic breath. Far away from all larmoyance the subtly moving F-minor-Andantino. Feather-light the wonderfully enjoyable Scherzo, and truly enthusiastically exhilarating and in addition delicately nuanced the uniquely melodic final movement: Those who play works by Franz Schubert in such an animated and elegant way should find their place in the international piano world. Warm applause in the unfortunately only half-filled Alte Aula of the university. For the applause, the artist thanked with the wonderfully cantable interpreted Impromptu Gb major D 899/3. -
07June
... the playing of the Korean pianist Jee-Eun Franziska Lee was delightful.
Her impeccable technique is as admirable as the versatility of her musical expression.location_on by Klaus Günther
November 07, 1026 - Solinger Tageblatt access_time 8:00 AM - 9:00 AM
... The audience in the Meistermannsaal has been deeply impressed. For them, also the playing of the Korean pianist Jee-Eun Franziska Lee was a delightful experience. The young musician has already won numerous prizes at prestigious competitions. Her impeccable technique is as admirable as the versatility of her musical expression.
On Sunday she performed two piano concertos with the Dortmund Philharmonic, first the A minor Concerto by Clara Schumann (1819 - 1896). Clara's romantic love story with Robert Schumann is known thanks to several films. She began composing her concert at the age of thirteen and she played the world premiere in Leipzig at the age of sixteen. Conductor at that time: Felix Mendelssohn.
He is the composer of the Concerto in G minor, which Franziska Lee played at the end of the concert evening. While the pianist conjured up lyrical moods in the work of Clara Schumann, she thrilled with brilliance and virtuosity at the Mendelssohn concert. -
07June
Intimacy and maturity
Kulturfonds Baden honors JeeEun Franziska Leelocation_on by Christine Voigt
Badische Neueste Nachrichten - October 06, 2015 access_time 8:00 AM - 9:00 AM
The young pianist JeeEun Franziska Lee, who has now received the Music Prize of the Baden Cultural Fund, is not unknown in Karlsruhe. Born in 1988 in Seoul / South Korea, she first studied in her home country until she got the bachelor's degree. As a scholarship holder of the DAAD, she continued her studies from 2011 at the Karlsruhe University of Music. Since 2013 she teaches there as a student lecturer the compulsory subject piano. In the meantime, she has won a number of national and international competition prizes and already participates as a jury member in competitions.
She lead the award ceremony of the Cultural Fund in the Catholic Church Hohenwettersbach herself with the performance of Mendelssohn's "Fantasia" in F sharp minor op 28th. In deep inner sympathy she provided to the first part a colorful design with flowering technique, to the second she gave a friendly lovely face, and finally she inspired the listeners with the final Presto in souvereign technique with dynamic flexibility and elastic smoothness. After welcome words of the local head Elke Ernemann a dialogue took place between the young pianist and her teacher under the title "in the field of tension of the cultures" , where the young Korean showed a perfect integration and excellent German language skills. This discussion was followed by the presentation of the prize by Matthias Tritsch, President of the Cultural Fund.
Finally, Lee celebrated Beethoven's last Sonata No. 32 Op. 111 in C Minor, which is regarded as the legacy and culmination of his sonata work. Deeply immersed in the spirit of this music, she created, after a slow introduction in the fast first movement, exciting climaxes as well as clear contrasts. She presented the slow "Arietta" with a particularly soft touch and played it with deep intimacy and astonishing maturity. A wonderfully wide bow spread over this variation movement with all its contrasts, and the listeners reacted with deep emotion. -
07June
Tender and dynamic-powerful melodies
The South Korean Jee-Eun Franziska Lee has given a concert in the Simmozheimer Town Halllocation_on by Bettina Bausch
Schwarzwälder-Bote - November 11, 2014 access_time 8:00 AM - 9:00 AM(soon available in English)
Ihr Spiel ist zart und ausdrucksvoll und die Phrasierungen gestaltet sie mit großer Intimität. Jee-Eun Franziska Lee ist eine Ausnahmemusikerin und Meisterin ihres Faches. Denn was die junge Pianistin jetzt aus dem Flügel im Simmozheimer Rathaussaal geradezu herauszauberte, war Musik der Spitzenklasse.
Leicht vorgebeugt, immer auswendig und mit traumwandlerischer Sicherheit spielend, schien die Ausnahmekünstlerin mit dem Klavier geradezu verwachsen. Da war nichts von divenhaftem Gehabe zu spüren.
Hinter ihrem schlichten, freundlichen Auftreten verbirgt sich ein ungewöhnliches Musiktalent. Wer sie schon vor zweieinhalb Jahren an selber Stelle spielen hörte, merkte schnell, dass die Musikstudentin mit südkoreanischen Wurzeln inzwischen noch präziser, noch sicherer in der Interpretation, ja nahezu perfekt geworden ist.
Schon gleich mit dem ersten vorgetragenen Werk, Felix Mendelssohns Fantasie fis-moll op. 28, spielte sich die 26-Jährige in die Herzen der gespannt lauschenden Zuhörer. Das variationsreiche Stück mit fantasievollen Passagen ist in einer eher ungewöhnlichen Tonart geschrieben und verlangte hohe Konzentration sowie großes inneres Mitschwingen. Schon hier blitzte die Fähigkeit der jungen Musikerin zu ungewöhnlich sensibler Interpretation auf.
»Franz Schubert ist mein Lieblingskomponist«, bekannte sie lächelnd. Wohl auch deshalb stellte sie seine Klaviersonate in A-Dur in den Mittelpunkt des Abends. In den Sätzen Allegro, Andantino, Scherzo und Rondo, brannte die Meisterin der Tasten eine wahres Feuerwerk ihres Könnens ab. Zeigten die schnellen Sätze ihre fantastische Fähigkeit im virtuosen Spiel, so meisterte sie ruhigere Passagen mit großem Einfühlungsvermögen.
Höchstes Niveau erreichte Lee bei der Präsentation ihres dritten Werks, der Klaviersonate c-moll, op. 111 von Ludwig van Beethoven.
Im Allegro con brio ed appassionato wurde das typisch leidenschaftlich Entfesselte der Beethoven'schen Musik großartig herausgearbeitet Der Schlusssatz des Adagio molto mündete dann ein in eine ruhig-melodiös geprägte empfindsame Spielweise. Die zarte und immer wieder auch dynamisch-kraftvolle Art zu Spielen hatte restlos überzeugt.
Die Besucher des Abends waren erfasst worden vom meisterhaften Spiel der Musikstudentin, die bereits im Alter von fünf Jahren Klavierunterricht bekam und sich jetzt auf die Prüfung zur höchsten Stufe für Pianisten vorbereitet.
»Das war ganz, ganz toll«, resümierte Bürgermeister Hartmut Mayer. Er überreichte der Künstlerin unter begeistertem Applaus des Publikums ein Blumengebinde. Der Rathauschef kündigte an, das südkoreanische Genie am Flügel auf jeden Fall zu einem weiteren Konzert in die Gäugeeinde einzuladen. -
07June
Room-filling piano sound
Soloist exam of the pianist Jee-Eun Franziska Lee at the Musikhochschule Karlsruhelocation_on Badische Neueste Nachrichten, hd - July 08, 2014 access_time 8:00 AM - 9:00 AM
Most public recitals of the Soloist Examina at conservatoires have one thing in common: The selection of the standardized, classical-romantic piano repertoire; sadly, "slips" into the Baroque era or even into the 20th century are rare here. However, this can not be said about the program chosen by Pianist Jee-Eun Franziska Lee, born in Seoul, Korea in 1988, who has been studying with Sontraud Speidel since 2011 at the Musikhochschule Karlsruhe and now for over a year in the study course Soloist Exams: She combied Schuberts late A major Sonata D. 959, which even "established" pianists dread, with the Piano Sonata of the French composer Henri Dutilleux, deceased 2013, and betrayed by that even before the first sound was heard the artistically individual approach of Jee-Eun Franziska Lee, with which she presented her soloist exam recital in Velte Saal of Schloss Gottesaue.
With her truly room-filling orchestral, sustainably sonorous piano sound and the intellectual penetration of the formal arrangement of the first movement in Schubert's sonata, Lee clearly showed her artistic maturity and intelligence. In the following Andantino, the exact perseverance of the tempo, without much yielding, expressed Schubert's typical wanderer-like character while avoiding unnecessary sentimentality. Extremely impressive was here the wild, inexorably designed "thunderstorm" in the center of the movement.
With the scherzo played with serene wit and the concluding, adequately fast paced rondo, Lee finally led to Henry Dutilleux's piano sonata, proving her great technical and physical as well as her creative power of her playing. She succeeded in capturing the many characters of the often shimmering, erring light to form a work with sometimes almost jazzy echoes into a large ensemble, while she always articulated precisely. In the sometimes slow second and third movement, she clearly emphasized the melody-leading voices and, in other complex and fast passages, put the virtuosity required here entirely into the service of the work.
The audience was extremely impressed and enthusiastic about the play of this pianist, whom we wish a great publicity in future. -
07June
Depth of feeling
Jee-Eun Franziska Lee in the Villa Wieser with Zontalocation_on Rheinpfalz Zeitung, wtz - September 14, 2013 access_time 8:00 AM - 9:00 AM
The South Korean pianist Jee-Eun Franziska Lee offered a brilliant concert at Zonta Club Landau-Südpfalz on Saturdayin the Villa Wieser. She impressed by imposing performances of highly sophisticated works by Scarlatti, Beethoven and Scriabin.
The petite young woman, who focused on the first few bars of a Scarlatti sonata with a confident calm, showed already in her gesture a complete devotion to the music. She brilliantly developed the vocal lines of the lyric F minor Sonata (K, 481) as well as the clear contours of the animated Sonata in D minor (K.1).
Also in the rapid performance of the Chopin Etude in F major, op. 10, the pianist convinced with her sophisticated technique and touch culture. In the performance of the ingenious paraphrase of Isoldes love death from Wagner's opera by Franz Liszt, she proved that she prefers colorful playing . This reveals a deeply romantic world of sound, which demands orchestral sonority as well as colorful dynamics from the performer. Lee flawlessly played the virtuoso sound cascades, confidently modeling the themes out of harmonic events. Decisive were her emotional depth and passion, which she also expressed in her imaginative interpretation of the second Sonata in G sharp minor op. 19 by Scriabin.
But the highlight of the concert was her interpretation of Beethoven's last Piano Sonata No. 32 in C minor. This large work is one of the most expressive works of Beethoven. It demands a confession of the interpreter to his music, it has become the touchstone of all great pianists. Jee-Eun Franziska Lee interpreted the work with enormous energy and power, placing emphasis on the contrasting orchestral effect. Her view of the passionate Allegro movement impressed by powerful dynamics. In the variations of the Arietta, a songlike adagio, the pianist developed the tender sound structures with expression and rhythmic precision.
In Seoul, Jee-Eun Franziska Lee graduated 2011 with a bachelor's degree as best student of the year. After competition successes in Korea and Vienna, she began her Master's degree in 2011 at the Musikhochschule Karlsruhe with Sontraud Speidel supported by the German Academic Exchange Service. The young pianist has proven her skills in numerous concerts, and the concert evening for Zonta was a further proof of her ambitious art.
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