Sein Spiel, im noblen Ambiente von Venedigs Teatro Le Fenice aufgenommen, zeichnet sich durch schlanke, biegsame Tongebung und eine hochsensible Nachzeichnung der melodischen Linienführung aus. Es setzt eine breite Skala der klingenden und dynamischen Schattierungen ein und entwickelt jedes der zehn auswählten Stücke von Beethoven ‚Für Elise‘ bis Debussys ‚Clair de Lune‘ mit viel Sinn für Form und Stimmung. Die Skalen in Schuberts Es-Dur-Impromptu verlieren unter seinen Händen alles Etüdenhafte, Schumanns ‚Träumerei‘ erklingt völlig unaffektiert und frei von Routine, und die ‚nachsinnenden‘ Passagen in dessen ‚Arabeske‘ sind mit anrührender Verinnerlichung gelungen. Schöner kann man all dies kaum spielen.
Ingo Harden, Fono Forum
What we have on this album, simply titled ‘Piano’, is a collection of Chung's favorite piano works, dedicated to his children and grandchildren, most of the pieces having a direct connection to Chung's own experience. The selections are all quite familiar, but Chung presents them in a most-heartfelt manner.[…] As with so many collections, the first item on the program sets the tone for what's to follow. In this case, Chung has chosen Claude Debussy's ‘Clair de lune,’ that gossamer-light impressionistic work we've all heard so many times. Chung plays it in a simple, straightforward manner, yet he clearly wears his heart on his sleeve, playing it slowly and with great feeling. Still, while Chung is unafraid to let his emotions show, he never actually sentimentalizes the music but allows its overt Romanticism to speak for itself. It's quite lovely.
John J. Puccio, Classical Candour
Though most of the repertoire is well-known, Chung brings to much of it a decidedly original and refreshingly unconventional approach. Witness the almost Tchaikovskyan characterization and lavishly flexible tempos in the Mozart variations. Beauty of sound and suppleness of inflection abound, strikingly so in the Chopin and Debussy.
Jeremy Simpson, BBC Music Magazine
In its unpretentious, often understated way, this disc is a real joy to behold, and although it may be too much to ask for Chung to spend a little less time with the baton in favour of the keyboard, I hold out hope of another recording to match the sensitivity and maturity of this fine disc.
Mark Tanner, International Record Review
‚Piano‘, so lautet der schlichte Titel des Albums, und schlicht – im Sinne von ‚zurückgenommen‘ und ‚allürenfrei‘ - ist auch die ganze CD. Ein Album für die stillen Stunden. Und - das ist jetzt keine Floskel, denn wo wenn nicht hier träfe die Formulierung zu -: Die CD ist einfach ‚traumhaft schön‘.
Niels Kaiser, HR2 Kultur
Although we normally think of Myung-Whun Chung as a conductor, this album of popular piano pieces reminds us what a fine and thoughtful pianist he is. We are also reminded that Chung began his career as a pianist, winning second prize in the 1974 Tchaikovsky competition. […] Although the pieces on this disc are very well-known, short and comparatively slight in emotional range, Chung nevertheless takes them all very seriously. His interpretations appear deeply thought out and the result of many years of experience in serious music-making. Chung’s performances are always thought-provoking and this is a very attractive and well-recorded collection.
Geoffrey Molyneux, Music Web International
