Isabelle Faust and Alexander Melnikov Duo to Perform in Korea for the First Time in 14 Years

At the Concert Hall of the Arts Center on February 4

Violinist Isabelle Faust and pianist Alexander Melnikov, regarded as one of the finest duos, will perform together at the Concert Hall of the Arts Center on February 4. This marks the duo’s first performance in Korea in 14 years since 2012.

Faust is considered one of the greatest living violinists, renowned for reinterpreting a wide-ranging repertoire from classical to contemporary works with her own unique aesthetic. She has established her reputation through meticulous study of scores, a transparent tone, and performances characterized by intellectual insight.

Melnikov, a pianist who received praise from the legendary maestro Sviatoslav Richter, is known for his delicate touch and structurally insightful interpretations. In addition to his mastery of classical and romantic repertoire, his deep understanding of twentieth-century music has led to numerous recordings with Faust, establishing them as an unparalleled musical partnership.

Violinist Isabelle Faust (left) and pianist Alexander Melnikov
Photo by Arts Center, (c)Marco Boggreve

Drawing on the deep musical trust they have built over many years, the two artists will present a program that meticulously reveals the inner structure and emotion of each piece. For this performance at the Arts Center, they will focus on works that encapsulate the aesthetics and experimental spirit of early twentieth-century music, highlighting four composers who sought to expand the boundaries of traditional forms and explore new musical languages.

The opening piece, Prokofiev’s “Five Melodies,” was originally composed for voice and showcases a modern sensibility through lyrical and restrained melodies. This is followed by Shostakovich’s “Sonata in G Major,” a work from the composer’s later years that is imbued with introspection, balancing tension and restrained emotion to create a delicate beauty. The contrast between the freshness of Prokofiev’s piece and the introspective nature of Shostakovich’s work is particularly striking.

In the second half, the program explores the experimentalism and expansion of twentieth-century music through works by close friends Schoenberg and Busoni. Schoenberg’s “Phantasy” introduces a new musical language through its twelve-tone technique, unique density, and the free form characteristic of fugue. Busoni’s “Sonata No. 2” expands the depth of contemplation within a grand structure that bridges the romantic and modern eras.