Eternal Beethoven Jenny Soonjin Kim

• Ludwig van Beethoven (1770 - 1827): Piano Sonata No. 32 in C Major, Op. 111 :
• 1 Beethoven: Piano Sonata No. 32 in C Major, Op. 111 : I. Maestoso - Allegro con brio ed appassionato 10:25
• 2 Beethoven: Piano Sonata No. 32 in C Major, Op. 111 : II. Arietta : Adagio molto semplice e cantabile 18:34
• 15 Variations and a fugue on an orginal theme "Eroica", Op. 35 (1802):
• 3 Beethoven: 15 Variations and a fugue on an orginal theme "Eroica", Op. 35 (1802) 26:44
• Bagatelles, Op. 126:
• 4 Beethoven: Bagatelles, Op. 126: I. Andate con moto, Cantabile e compiacevole, G Major, 3/4 time 02:59
• 5 Beethoven: Bagatelles, Op. 126: II. Allegro, G Minor, 2/4 03:09
• 6 Beethoven: Bagatelles, Op. 126: III. Andante, Cantabile e grazioso, E flat Major, 3/4 02:35
• 7 Beethoven: Bagatelles, Op. 126: IV. Presto, B Minor, cut time 04:30
• 8 Beethoven: Bagatelles, Op. 126: V. Quasi allegretto, G Major, 6/8 02:40
• 9 Beethoven: Bagatelles, Op. 126: VI. Presto, Andante amabile e con moto, E flat Major, 3/8 03:58
• Total Runtime 01:15:34

Info for Eternal Beethoven

Jenny Soonjin Kim has performed in major venues in Europe, Asia, and North America. Kim has recorded keyboard works ranging from Bach to Schoenberg for Arabesque Records (which once nominated her for the prestigious Gilmore Artist Award), as well as the complete keyboard sonatas of both Leopold Kozeluch and Johann Friedrich Doles (a world premiere) on fortepiano for Brilliant Classics. A 12 CD boxset—recordings of the complete 50 keyboard sonatas of Kozeluch—was released in October 2020.

Sylvia Berry (Early Music America) wrote of the second Kozeluch volume: “Kim’s playing is crystalline and lyrical, with exquisitely sensitive phrasing. She is an assured virtuoso who interprets Kozeluch’s music beautifully.” Marco Frei (Germany’s Piano News) wrote of the Doles recording: “Once again the instrument convinces with an unheard-of floating tonal quality in piano and a voluminous expression in forte, and Kim knows how to use this fascinating richness of color perfectly…With this premiere recording Kim has taken an exemplary view, because it brings together the sound poetry and the gripping verve in a meaningful way.”

Kim performed Kozeluch’s Piano Concerto No. 1 in F Major with the Philharmony Hradec Králové at Smetana Hall, Prague in October 2019, and was also invited and performed for the 250th Beethoven birthday celebration in Vienna in October 2020.

Kim has a DMA in Historical Performance Practices/Keyboard Studies from Claremont Graduate University, where she now is an assistant professor of practice. She oversees the piano/fortepiano program and directs the Keyboard Performance Forum. Kim also serves on the board of directors of the Los Angeles Master Chorale.

Jenny Soonjin Kim, piano

Jenny Soonjin Kim
is a faculty member at Claremont Graduate University in Claremont, California, where she teaches fortepiano and piano. She has performed in major venues in Europe, Asia and North America, and has recorded major keyboard works ranging from Bach to Schoenberg. Dr. Kim has earned degrees from Seoul National University (BA, Music Performance), the Mozarteum in Salzburg (Diploma, Piano), the University of Southern California in Los Angeles (MM and Graduate Certi cate, Piano Performance), the University of California, Los Angeles (Diploma, Music Management and Merchandising) and Claremont Graduate University (DMA, Historical Performance Practices/Keyboard Studies). Her keyboard teachers have included Stewart Gordon, Nakho Paik, Dennis Thurmond and Robert Zappulla. Dr. Kim serves on the Board of Directors of the Los Angeles Master Chorale.

This album was recorded on the campus of Claremont School of Theology in Claremont, California, in January (CD1) and September 2015 (CD2) in the magni cent Kresge Chapel, designed by Edward Durell Stone and completed in 1965. The fortepiano used for these recordings is owned by Claremont Graduate University and was built by Michael Walker in Neckargemünd, Germany, in 1987. It is modelled after an instrument built by Anton Walter in Vienna, Austria, in 1795. The chapel and instrument were both provided gratis for these recordings.

This album contains no booklet.