Bomsori Kim & Philip Chiu
September 15, 2019 at 3 p.m.
Minsky Recital Hall
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Bomsori Kim & Philip Chiu

Sunday, September 15, 2019 at 3 p.m.
Minsky Recital Hall

Winner of the 62nd ARD International Music Competition, BOMSORI KIM has established herself as part of an emerging generation of internationally recognized violinists. BOMSORI began gaining attention in 2010 as the youngest prizewinner of the 4th Sendai International Music Competition, which led to an internationally acclaimed concert debut in 2010. (More below.)

Noted by La Presse as “…a pianist-painter who turns every musical idea into a beautiful array of colors”, Philip Chiu is lauded for the brilliance, colour and sensitivity of his playing, and is particularly noted for his ability to connect with audiences on and off stage. (More below)

Sonata a minor op 105  – Robert Schumann (1810-1856)
3 Pieces – Jean Sibelius (1865-1957)
Nocturne & Tarantella – Karol Szymanowski (1882-1937)
—-  Interval ––
Sonata No 2 D-major, op. 94b – Sergei Prokofiev (1891-1953)
“Carmen Fantasy” – Franz Waxman (1906-1967)

Adult $36 | K-12 students free when accompanied by at least one paying adult | All fees included

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Bomsori Kim is regarded as one of today’s most vibrant and exciting instrumentalists. Winner of the 62nd ARD International Music Competition, Bomsori’s exceptional talent and the poise of her musicianship have been recognized by many of the world’s finest orchestras and eminent conductors. A rising star on the international concert stage, Bomsori is committed to sharing passionate, personal, and refreshing performances of classical violin repertoire with a global audience.

In the 2019-2020 season, Bomsori debuts with the Nashville Symphony, performing Mozart’s Violin Concerto No. 1 under the baton of Giancarlo Guerrero. With Guerrero, she joins the Wroc?aw Philharmonic as soloist in a multi-city tour of California, performing the Szymanowski Violin Concerto. Additional orchestral debuts include the Lexington Philharmonic led by Keitaro Harada in a performance of Wieniawski’s Violin Concerto No. 2. As a recitalist, she is presented by Rockport Music, University of Maine, National Gallery of Art, and the Carlsen Center. She collaborates with pianist Juho Pohjonen in recitals presented by the Society of the Four Arts and San Francisco Performances and joins pianist Rafa? Blechacz for recitals in New York City, Costa Mesa, CA, Toronto and Waterloo. Internationally, she gives recitals at the Rheingau Musik Festival and Heidelberger Fruehling in Germany and Lucerne and Gstaad Menuhin Festivals in Switzerland. International orchestral engagements are with the Luzern and KBS Symphony Orchestras, NDR Radiopihilharmonie, Nürnberger Symphoniker, Deutsche Staatsphilharmonie Rheinland-Pfalz, and Warsaw Philharmonic Orchestra.

The 2018-2019 season featured Bomsori’s New York Philharmonic debut, playing the US Premiere of Tan Dun’s Violin Concerto, Fire Ritual, “with fierce dramatic commitment.” (New York Times). Additional US debuts included Lincoln’s Symphony Orchestra and recitals at the Maestro Foundation and La Jolla Music Society’s Discovery Series. International collaborations were with the Zurich Chamber Orchestra, Tonkuenstler Orchestra Vienna, Yomiuri Nippon Symphony Orchestra, and a tour with the Poznan Philharmonic Orchestra to Berlin, Milan, and Prague.

In 2017, Warner Classics released Bomsori’s debut album with maestro Jacek Kaspszyk and the Warsaw Philharmonic Orchestra, featuring Wieniawski’s Violin Concerto No. 2 and Shostakovich’s Violin Concerto No. 1. BBC Music Magazine praised Bomsori’s “centered tone and a strong rhythmic thrust,” and The Strad Magazine opined “I can’t remember when I last enjoyed this concerto so much.” In 2019, Bomsori and pianist Rafa? Blechacz released a disc of French and Polish music on the Deutsche Grammophon label. Featuring works by Fauré, Debussy, Chopin and Szymanowski, “this well-constructed programme perfectly showcases the strengths of both players, who command brilliant virtuosity, impeccable musicianship and a compelling vision.” (Music Web International)

In addition to winning the 62nd ARD International Music Competition, Bomsori is a prize winner of the Tchaikovsky International Competition, Queen Elisabeth Competition, International Jean Sibelius Violin Competition, Joseph Joachim International Violin Competition Hannover, Montreal International Musical Competition, and Sendai International Music Competition. Bomsori won Second Prize, Critic’s Prize, and nine additional special prizes at the 15th International Henryk Wieniawski Violin Competition.

She has appeared as soloist at numerous venues worldwide, such as David Geffen Hall in New York, Musikverein Golden Hall in Vienna, Tchaikovsky Hall in Moscow, Philharmonic Hall in St. Petersburg, Slovak Radio Concert Hall in Bratislava, Finlandia Hall in Helsinki, the Herkulessaal and the Prinzregententheater in Munich, Berlin Konzerthaus, Berlin Philharmonic Chamber Hall, and Smetana Hall in Prague, and Seoul Arts Center Concert Hall. She has had the privilege of performing under the direction of renowned conductors, including Jaap van Zweden, Marin Alsop, Andrey Boreyko, Pablo Heras Casado, Hannu Lintu, Lukasz Borowicz, Kahchun Wong, John Storgards, Edo de Waart, Yuri Simonov, Valentin Uryupin, Pascal Verrot, and Giancarlo Guerrero, with numerous leading orchestras, such as the New York Philharmonic, Bayerischer Rundfunk Symphony Orchestra, Moscow Symphony Orchestra, Montreal Symphony Orchestra, National Orchestra of Belgium, Warsaw National Philharmonic Orchestra, NDR Radiophilharmonie of Hannover, Finnish Radio Symphony Orchestra, Helsinki Philharmonic Orchestra, Munich Radio Orchestra, and KBS Symphony Orchestra, among others.

A native of South Korea, Bomsori is a graduate of Seoul National University, where she studied with Young Uck Kim. She earned her Master of Music at The Juilliard School, as a student of Sylvia Rosenberg and Ronald Copes. With the support of Kumho Asiana Cultural Foundation, she currently plays on a 1774 violin by Joannes Baptista Guadagnini.


Noted by La Presse as “…a pianist-painter who turns every musical idea into a beautiful array of colors”, Philip Chiu is lauded for the brilliance, colour and sensitivity of his playing, and is particularly noted for his ability to connect with audiences on and off stage. Inaugural winner of the 2015 Prix Goyer, Philip is more than a summation of technical and musical abilities, he has become one of Canada’s leading musicians through his infectious love of music and his passion for communication and collaboration.

This season, Philip is the Artist-in-Residence for Cecilia Concerts in Halifax, NS. He will also perform solo recitals throughout Ontario and Quebec. He continues to concertize extensively as a chamber musician. He has appeared in recitals with leading musicians of the world stage, including James Ehnes, Raphael Wallfisch, Patrice Fontanarosa, Regis Pasquier and Stefan Dohr. He performs regularly with Jonathan Crow, concertmaster of the Toronto Symphony as well as Andrew Wan, co-concertmaster of l’Orchestre Symphonique de Montréal. He tours regularly with premier touring organizations, Jeunesses Musicales Canada, Debut Atlantic, and Prairie Debut.

Dedicated to elevating the standard and art of collaborative piano, Mr. Chiu is the creator and director of the new Collaborative Piano Program at the Domaine Forget International Festival and Academy. He is an acclaimed accompanist and piano coach based at McGill University, has been an invited professor and collaborator for the Conservatoire de musique de Montréal and l’Universite de Montréal.

Philip is extremely grateful for the support of the Sylva Gelber Music Foundation, Canada Council for the Arts and Jeunesses Musicales in his various pursuits. He can be heard/seen on Classical 96.3 FM, Australia’s ABC Radio, CBC Radio, and Radio-Canada.


by Laura Artesani, D.M.A.

 Sonata a minor op 105  – Robert Schumann (1810-1856)

 The first of Schumann’s two violin sonatas was composed a year after his arrival in Dusseldorf, where he held the post of Town Music Director. This sonata was requested by Ferdinand David, concertmaster of Gewandhaus Orchestra in Leipzig, and is dedicated to him. After completing the sonata in just four days in September of 1851, the first private performance took place a month later with Clara Schumann at the piano and Wilhelm Joseph von Wasielewski, concert master of Robert’s orchestra in Dusseldorf, as soloist. Clara wrote of this occasion, “We were particularly moved by the very elegiac first movement and the lovely second movement.” However, the third movement presented a challenge. Even though it was repeated three times, Clara reported that Wasielewski was not able to create the “brusque tone” that Robert desired. The first public performance took place with Ferdinand David and Clara at the Leipzig Gewandaus on March 29, 1852.

The restless opening movement, designated to be played “with passionate expression”, begins with the main theme in the violin’s low range. As is typical of Schumann, the intricate piano part presents multiple voices and textures. The charming Allegretto movement contains contrasting episodes from the two sides of Schumann’s personality that often make themselves known in his compositions: the introverted Eusebius and the extroverted Florestan. The closing scherzo, alternating between a diabolical and a lyrical mood, reintroduces the opening theme of the first movement before pushing toward its breathtaking conclusion.

Three Movements from Six Pieces for Violin and Piano, Op. 79 – Jean Sibelius (1865-1957)

Sibelius composed Opus 79 during his fiftieth year, which was celebrated throughout his native country of Finland with great fanfare. By this time in his career, he had achieved impressive international success and was regarded as Finland’s foremost composer, receiving an annual pension from the government. Between the years of 1892 and 1915, he conducted over thirty concerts of his music in Helsinki alone. His works are known for their nationalistic spirit, and he is championed for his development and expansion of the symphony and symphonic poem.

Sibelius came from a lineage that included musicians on both sides of his family, and he grew up playing the piano and violin. He once wrote that during his youth, “. . .the violin occupied my mind completely. Henceforth, it was for ten years my ardent wish, the proudest goal of my ambition was to become a great violin virtuoso.” He often played chamber music at home, with his brother Christian on cello, his sister Linda on piano, and himself on violin. After a year in law school in Helsinki, he decided to pursue a musical career, entering the Helsinki Music Institute in the fall of 1885. He performed many times as a soloist during his years at the institute, but was eventually advised against pursuing a career as a violinist, due to his extreme stage fright. After completing his studies in Helsinki, he studied counterpoint in Berlin with Albert Becker, and composition in Vienna with Karl Goldmark and Robert Fuchs. He returned to Finland in 1892; the premiere of his Kullervo Symphony a year later was an incredible sensation and launched his highly successful career as a composer.

Opus 79 demonstrates the great command that Sibelius had of the piano and violin, and his impressive ability to write idiomatically and effectively for these two instruments. The movements included in today’s program are I. Souvenir, a nostalgic remembrance; V. Dance Idyll, portraying a picturesque and peaceful episode; and VI. Berceuse, a lilting movement in 6/8 time, resembling a lullaby.

Nocturne & Tarantella – Karol Szymanowski (1882-1937)

Regarded as the foremost Polish composer of the early twentieth century, Szymanowski studied music in Warsaw and Berlin, where he founded the Young Polish Composers Publishing Company in 1905. He returned to Poland when World War I broke out in 1914, immersing himself in Polish nationalist music as well as Islamic culture and Ancient Greek drama and philosophy. His music is known for its exoticism and passion, and shows the influence of impressionism, expressionism, and romanticism. Szymanowski served as director of the Warsaw Conservatory for five years (1927-1932), and was a strong advocate for music education in Poland.

A genre popularized by Szymanowski’s compatriot, Frederic Chopin, a nocturne is typically defined as a “night piece”, dreamy and romantic in character. Composed in the spring of 1915, Szymanowski’s Nocturne displays these characteristics, along with mystery and fiery passion. The Tarentella was composed a few months later, while staying at the estate of Józef Jaroszy?ski with violinst and composer Paul Kochanski (1887-1934). According to August Iwa?ski, to whom these two pieces are dedicated, the Tarentella is the result of “the excellent mood produced in Szymanowski and Kocha?ski by a bottle of superb cognac, found somewhere deep in a wardrobe of the absent host.” The Tarantella is a fast, delirious dance in 6/8 time, originating in southern Italy. Legend states that its origin comes from the dizzying dance performed by individuals who had been bitten by a tarantula and were attempting to exorcise the poison.

Sonata No 2 D-major, op. 94b – Sergei Prokofiev (1891-1953)

 In an effort to keep them out of harm’s way during World War II, Prokofiev and other artists were relocated to the city of Perm in the Ural mountains in 1943 by the Soviet Government. It was here that Prokofiev began work on a flute sonata, a project that he described as “perhaps inappropriate at the moment, but pleasant.” He completed the sonata upon his return to Moscow, and the premiere took place in that city on December 17, 1943 with flutist Nikolai Charkovsky and pianist Sviatslav Richter. After hearing the sonata, violinist David Oistrakh persuaded Prokofiev to rewrite it for violin. The composer agreed, and this version of the sonata was first performed by Oistrakh and pianist Lev Oborin on June 17, 1944.

Prokofiev stated that “I wanted this sonata to have a classical, clear, transparent sonority.” The first movement is eloquent and lyrical, followed by an energetic scherzo, featuring wide leaps, emphatic rhythms and rapid register changes. The expressive third movement has been described as having “the tenderness of a Mozart andante,” but one also hears a hint of Prokofiev’s interest in jazz in the middle section. The sonata concludes with the intense and exhilarating finale.

“Carmen Fantasy” by Franz Waxman (1906-1967)

Franz Waxman was a gifted conductor and composer who is primarily remembered today for his film scores. His first Hollywood score was for The Bride of Frankenstein in 1935, and he went on to compose scores for a total of 144 films, including Captains Courageous, Woman of the Year, Rebecca, and Peyton Place. He received Academy Awards for his scores for Sunset Boulevard (1950) and A Place in the Sun (1951).

Born in Upper Selesia, Germany, Waxman studied piano, harmony and composition in Dresden and Berlin before emigrating to the U.S. in 1934. Waxman founded the Los Angeles International Music Festival in 1947, and was its leader for twenty years. Works by eminent composers such as Stravinsky, Vaughan Williams and Shostakovich were premiered at this prestigious festival.

The Carmen Fantasy was composed for the 1946 film Humoresque, starring Joan Crawford and John Garfield. Isaac Stern played the piece for the film’s soundtrack, and some of the close-up shots of the violinist in the scene in which it is featured are actually of Stern’s hands. Jascha Heifetz asked Waxman to expand the Carmen Fantasy into a concert piece; Heifetz debuted this version on the radio program The Bell Telephone Hour in 1946 before including it on the program for his world tour, also in 1946. This sparkling and deftly integrated arrangement of Bizet’s well-known melodies brilliantly showcases the technical and expressive qualities of the violin.