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Interview with MyungHee Chung

Posted On March 19, 2014 by Ancora Quartet

We Three Strings are preparing for our first rehearsal with our guest pianist, Dr. MyungHee Chung. In the meantime, she graciously responded to the following questions.

ASQ: You’ve been praised for your “clean, strong, bell-like tone.” Does this sound lend itself better to one style of music than another, or can it adapt well to all?

MHC: The tone would be adapted to different styles and composers, i.e. Mozart would not have a strong tone, but a much more rounded, singing tone. I am sure the critic was referring to a Chopin étude and Scriabin.

ASQ: You’ve played concertos with orchestra, intimate chamber music, and solo literature; live in person, for radio broadcast, and for recordings. What are the differences in how you approach these various scenarios?

MHC: For the music itself, there is no difference. Since solo repertoire pieces have to be memorized (most of them, anyway), a big chunk of time goes into memorization. For chamber music, I don’t try to memorize, so I look at the score and listen to the entire piece, balance, etc. rather than my own performance.

ASQ: Keyboard instruments have evolved quite a bit over the centuries. When playing earlier literature on modern piano, do you aim to replicate an earlier sound, or revel in the sound of the current instrument?

MHC: I am not trying to make the piano sound like harpsichord. But I am using modern piano’s different color to create different mood.

ASQ: Following your performance with the Ancora String Quartet on October 2010, Isthmus reviewer John Barker called you a “true collaborator.” What advice do you have for pianists playing chamber music with strings, or other instruments?

MHC: Listen to other people.

ASQ: What can you tell us about the three piano quartets on this program?

MHC: Mozart is simple yet beautiful. Obviously, Turina has a Spanish flavor. I haven’t quite formed opinion on Bridge yet

ASQ: What are your current and future projects?

MHC: I have a lecture recital on Beethoven’s last three piano sonatas on April 4. I am in the process of deciding on the repertoire for the fall recital.

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