[NEWS] Jason records for the new Steinway 'Spirio' Piano in NYC.

New Zealand pianist, Jason Bae has been chosen to record for the new Steinway 'Spirio' Piano in Steinway Piano Gallery, New York City.

The 'Spirio' will be having its big launch in New Zealand next April 2018 at Lewis Eady Showroom in Auckland. 

Jason has recorded three tracks; Puccini/Mikhashoff - Portrait on 'Madame Butterfly', Britten/Stevenson - Peter Grimes Fantasy and Rachmaninov Moment Musicaux No.4 Op.16. 

Jason with two technicians; Lauren and Melody

Jason with two technicians; Lauren and Melody

Jason and producer, Jon Feidner.

Jason and producer, Jon Feidner.

[MEDIA] Nghệ Sĩ Piano quốc tế Jason Bae lần đầu trình diễn tại Việt Nam

27/09/2017 - Hoàng Trần; the gioi van hoa - Vietnam

Lần đầu tiên trình diễn tại Việt Nam, Jason Bae sẽ mang đến cho khán giả của “Soul Live Project” những tuyệt phẩm Piano của những nhà soạn nhạc cổ điển huyền thoại.

Nghệ sĩ Piano người New Zealand, nghệ sĩ Steinway Jason Bae sinh năm 1991 tại Hàn Quốc. Bắt đầu học nhạc khi mới 5 tuổi,  năm 12 tuổi anh đã có  buổi biểu diễn ra mắt với Dàn nhạc giao hưởng Auckland. Một năm sau đó, anhtrở thành nghệ sĩ solo concerto trẻ nhất được trình diễn với Dàn nhạc Auckland Philharmonia trước 200.000 người. Khi vừa mới 26 tuổi, anh đã là thạc sĩ chuyên ngành Piano.

[Photo: Aiga Ozo] Chân dung nghệ sĩ Piano Jason Bae

[Photo: Aiga Ozo] Chân dung nghệ sĩ Piano Jason Bae

Khi được hỏi đâu là những điều quan trọng nhất tạo nên người nghệ sĩ triển vọng, anh khẳng định: “Tôi luôn phải nhớ rằng tôi đang tạo nên âm nhạc chỉ để chia sẻ với khán giả. Trình diễn không bao giờ là phô trương tài năng của mình mà là truyền cảm hứng đến khán giả để họ trân trọng vẻ đẹp của nhạc cổ điển. Tôi luôn hướng đến mục tiêu là làm cho khán giả nhận ra đây là một trải nghiệm quý báu có thể thay đổi cuộc sống”

Photo: Kelley Eady Loveridge

Photo: Kelley Eady Loveridge

Lần đầu tiên trình diễn tại Việt Nam, Jason Bae sẽ mang đến cho khán giả của Soul Live Project những tuyệt phẩm Piano của những nhà soạn nhạc cổ điển huyền thoại như Fréderic Chopin, Maurice Ravel và Sergei Rachmaninoff. Những buổi biểu diễn của Jason Baetừng thu hút hàng triệu khán giả mến mộ tại những nhà hát hàng đầu thế giới như Carnegie Hall (New York, Mỹ), Steinway Hall (London) và Steinway Piano Gallery (Helsinki).

[Photo: Aiga Ozo] Dù còn rất trẻ nhưng anh củng đã kịp sưu tầm cho mình khá nhiều giải thưởng

[Photo: Aiga Ozo] Dù còn rất trẻ nhưng anh củng đã kịp sưu tầm cho mình khá nhiều giải thưởng

Jason Bae đã gặt hái nhiều giải thưởng danh giá như: giải Nhất cuộc thi Piano quốc tế Bradshaw & Buono năm 2008 tại New York, Nghệ sĩ Trình diễn trẻ của năm tại New Zealand năm 2008, giải Nhì cuộc thi Piano tại Brisbane, Úc năm 2009; giải Nhất cuộc thi Concerto tại đại học Auckland năm 2010…. Jason Baelà người New Zealand đầu tiên trở thành Nghệ sĩ trẻ Steinway vào năm 2012, và sau 4 năm, anh đã trở thành Nghệ sĩ Steinway. Anh còn được công nhận là nghệ sĩ của “Talent Unlimited” tại Anh từ năm 2014.

Jason will be making his debut recital in Helsinki, Suomi/Finland.


Photo: Aiga Ozo

Photo: Aiga Ozo

New Zealand pianist, Jason Bae was born in Daejeon, South Korea in 1991 where he began studying piano at the age of five. At the age of twelve, he made his concerto debut with Auckland Symphony Orchestra and a year later, he became the youngest concerto soloist to perform with Auckland Philharmonia Orchestra. Since then, Jason has performed as a concerto soloist with New Zealand National Youth Symphony, Queensland Symphony Orchestra of Australia, Auckland Youth Symphony, Christchurch Symphony as well as giving recitals throughout in U.K, U.S.A, Finland, France, Indonesia, South Korea, Australia and New Zealand.

Jason was awarded 1st Prize in the 2008 Bradshaw & Buono International Piano Competition in New York, which led to a performance at the Carnegie Hall in Weill Recital Hall. In the same year, he won the New Zealand Young Performer of the Year. In 2009, he won 2nd prize at the Lev Vlassenko International Piano Competition in Brisbane, Australia. In 2013, he was the Grand 1st Prize Winner of the New Zealand Inaugural Wallace National Piano Competition. 

In the 2016-17 season, Jason will be giving a debut recital at St. Martin-in-the-Fields in London, King’s Place Hall in London, Steinway Hall in London, Steinway Piano Gallery in Helsinki, St. Mary Magdalene Church in London, Korean Cultural Centre in U.K, The Quarry Theatre in St. Luke's in Bedford, Univeristy of Auckland, Univeristy of North Florida in U.S.A and Cosmos Hall in Seoul. 

Parallel to his concerts as a pianist, Jason will be making his conducting debut with Kuopio Symphony Orchestra in Finland, Vaasa City Orchestra in Finland, South Denmark Philharmonic Orchestra, Berlin Sinfonietta, GOODEN.SEMBLE in London for the 2016 Bloomsbury Festival and University of North Florida Symphony Orchestra in U.S.A.

After receiving his Bachelor of Music with First Class Honours at University of Auckland with Dr. Rae de Lisle, Jason received his Master of Arts in piano performance with the highest distinction award, ‘DipRAM’ at the Royal Academy of Music in London under the tutelage of Christopher Elton and Joanna MacGregor in 2015. Jason has also studied at the Aspen Music Festival and School with Ann Schein and John O'Conor from 2007 to 2013. Jason currently studies orchestral conducting with Jorma Panula in Finland.

Jason is the first New Zealander to become the Young Steinway Artist since 2012 and last year he became ‘Steinway Artist’. Jason has been appointed as the youngest School of Music Visiting Fellow at University of Auckland at age 24. Jason’s debut CD 'Marylebone' with Austrian Gramophone was released in 2015.

Concert in the Steinway Piano Gallery Helsinki will be held on June 21st 6:00 pm.


In concert Jason will be performing:

Carl Vine  - Piano Sonata No.1

Maurice Ravel -  Miroirs


Steinway Artisti Jason Bae konsertoi Steinway Piano Galleryssa 21.06. 18:00.


[Review] Youthful, exuberant virtuosity - Jason Bae at St. Andrew's, Wellington.

By Peter Mechen, 27/09/2015, ©Middle C

Wellington Chamber Music presents:
JASON BAE (piano)

CHOPIN – Four Scherzi
No.1 in B Minor Op.20
No.2 in B-flat Minor Op.31
No.3 in C-sharp Minor Op.39
No.4 in E Major Op.54
BRITTEN/STEVENSON – Fantasy on Peter Grimes (1977)
LISZT – Venezia e Napoli – Gondoliera / Canzone / Tarantella

St.Andrew’s on-the-Terrace, Wellington

Sunday, 27th September, 2015

I remember hearing for the first time New Zealand pianist Richard Farrell’s recording of Chopin’s First Scherzo, and being bowled over by the playing’s youthful verve and exuberance.  Similar to Farrell’s in brilliance of execution and youthful élan was the performance of this same work by Jason Bae which opened his Wellington Chamber Music Series recital at St.Andrew’s on-the-Terrace on Sunday. For me, in fact, the “shock” of the recital’s opening generated by this young pianist had the effect of a sudden electric charge sent tingling through one’s being, which, of course, was exactly what the composer would have intended.

Jason Bae continued on as he had begun throughout this work, his playing capturing the compulsive “churning” aspect of the figurations, and bringing off the transitions between sections with a fine sensitivity – the central lyrical theme remained slightly “charged”, unable, it seemed to me, to completely relax, brought here, as it had been, in a veritable whirlwind, tempestuous and unnerving!  When it came, the pianist’s reiteration of these agitations heard at the opening simply renewed our astonishment at the fieriness of both music and its performance.

Following this, the tense “question-and-answer” opening phrases of the Second Scherzo were beautifully contrasted, the reply to the darkly-covered beginning ringing and resounding in great style. When repeated, this dialogue took on for me an even more spectral aspect, as if death had made a spoken gesture and been recognized, though Jason Bae’s sensitivity and nimble fingers also kept the passage’s melodic quality stoically to the fore. I liked the pianist’s rich, mellow plunge into the middle sequence’s world – and he did so well with that alchemic transition from those reverential tones back to the recapitulation – a wonderful mini-adventure! Then, in his hands the return to those first exchanges brought out a more rueful, even a somewhat “old friend” quality, after which the interplay of growing tensions culminated in a blistering coda, startling in its power and velocity!

The third Scherzo’s opening was less spectral and sharp-edged than grim and unremitting, dark, terse mutterings followed by angry octaves, delivered with incredible panache! Jason Bae caught the nobility of the contrasting episode, with its beautifully-weighted chords, but seemed to me somewhat at a loss to know what to “do” with the descending filigree figurations, treating them, I thought, as if they were purely decorative. Even when those same noble chords re-emerged decked with darker hues, beautifully voiced by the young pianist, the downward cascadings still lacked, to my ears, any kind of discernible character – strange, when his responses to the music’s other episodes were so sharply and/or richly focused.

After all of this grim, tight-lipped stuff, the relative genialities of the Fourth Scherzo were more than welcome, though Bae seemed more concerned with bringing out the elfin brilliance of the piano writing at the outset more than its good humour. There was breathtakingly delicate playing, with amazing right-hand work in places, the figurations at times just “brushed in”, everything clear as crystal, but light as air and swift as thought.  And the lyrical heart of the work was expressed with legato playing of such loveliness, it seemed churlish to wonder what it was that was in the young pianist’s mind other than the desire to make a beautiful sound. A friend I conferred with immediately after the concert felt much the same thing – that the virtuosity of the playing was breathtaking, but the lyrical moments needed more “character”.

Chopin reputedly said, once, that “if you want to play my music, go to hear Pasta or Rubini” – two of the stars of the opera at the time. Chopin loved the female voice as an instrument (though, surprisingly, he wrote fewer songs than did, say, Liszt), attended the opera regularly,  and befriended opera singers such as Pauline Viadot and Jenny Lind. Though his Nocturnes are celebrated as the most markedly lyrical works in his output, singing lines occur almost everywhere in his other compositions, as witness the central sections of these Scherzi. And just as a singer inflects the melodic lines he or she sings, according to the texts of the songs, so do Chopin’s melodies suggest appropriate dynamic and rhythmic nuance and a range of colour, according to the music’s overall character.

Throughout these Scherzi performances I thought Jason Bae readily captured a sense of the music’s excitement and dynamism, giving the works a wonderful volatile aspect, and a real sense of danger, of encountering the unexpected, and of conquering in places incredibly complex strands of creative impulse and making their intertwining cohere. He was able, as well, to display a gift for realizing a beautiful legato, one which was possible in many instances to enjoy as pure sound (as Chopin was reputed to have enjoyed the female voice or the sound of a violin). Still, in places in these performances I felt the need for more than beauty per se, for a stronger identification with the music’s expression that would give those sounds real intent.

The subjective nature of listening to music enables nine people in a room to add each of their very different impressions of a piece of a music to that of the musician playing it! – ten different reactions to the same piece of music! But I feel that what stimulates this process is the initial recreative thrust given by the performer – without that kind of interpretative commitmenton the part of a player, music can sound incredibly bland, for all the accuracy or surface beauty of its performance.  Bae himself demonstrated such a level of interpretative focus and skill in bringing to us, immediately after the interval,  the programme’s next item – this was Ronald Stevenson’s Fantasy on Peter Grimes, Benjamin Britten’s most famous opera.

Ronald Stevenson (whom I think of as Scottish, but who did have an English mother) died earlier this year at the age of 87. Called by commentators one of the great composer-pianists, his output was considerable, including both large-scale works, a huge body of transcriptions, and hundreds of miniatures. Though he’s credited with writing the longest single-movement work in the piano literature (his Passacaglia on DSCH, inspired by Shostakovich), his songs and piano transcriptions are the best-known of his works. Among the transcriptions for solo piano ( the style of Franz Liszt and his operatic transcriptions or “Reminiscences”) is this Fantasy, written in 1977, the year after Britten’s death.

Not dissimilar to Liszt’s Don Juan Fantasy, which recreates for the listener Mozart’s Don Giovanni through elaborating upon a number of scenes from the opera, though not in theatrical order, Stevenson sets about recreating certain subject-themes from “Peter Grimes”, and, unlike Liszt with “the Don” more-or-less following the design of the opera. Crashing chords with plaintive replies immediately evoke angry voices calling the outcast fisherman’s name at the opera’s beginning, followed by agitated, energetic figurations representing rumour and heresay swirling around Grimes’s head, suspected as he is of causing the death of one of his apprentice boys.

We heard the tumult of the storm and in its desolate wake an extended recitative with softly-whispered scintillations of stars in the firmament overhead, piano writing that staggered with its brilliance, sensitivity and sense of evocation. Jason Bae’s performance caught it all, revelling in the tumultuous piano-writing, but then recreating great vistas of silent, pitiless wonderment, as Grimes took the inevitable, tragic steps towards drowning himself at sea. All that was left at the end was the dawn, which the pianist magically brought into being by plucking the piano strings directly, sounding the “Daybreak” theme from the opera in doing so – a few evocatively-sounded Liszt-like chords, and the piece was over – what a work, and what a performance!

To conclude the recital, Jason Bae chose Liszt’s Venezia e Napoli, music composed as a kind of sequel to the composer’s second Années de Pèlerinage (Years of Pilgrimage) collection, consisting of impressions from his sojourns in Italy. There are three separate pieces in the work, the first two relating to the Venice (Venezia) part of the title, and a final Tarantella associated with Southern Italy (Napoli).

Beginning with a kind of introduction in which we heard the rhythm of the gondolier’s oar and the rippling of the water, the music intoned a popular song “La Biondina in Gondoletta”, Liszt most interestingly casting the opening music in the same key (F-sharp) as Chopin was to use in his Barcarolle for solo piano. Jason Bae gave us some exquisitely-sounded, shimmering textures throughout this section, voicing the gondolier’s song with great sensitivity, and making the accompanying arabesques scintillate all around the melody, perhaps not with gossamer ease in places, but certainly with sheer youthful delight! I loved the reminiscence of Berlioz’s “March of the Pilgrims” from his Symphony Harold en Italie at the end of the gondolier’s song, Liszt’s chiming notes recalling something of the dying echoes in Berlioz’s work.

The agitated Canzone which followed gave us the darker side of this picture, the music actually based on another gondolier’s song, this time by Rossini as used in his opera Otello  Bae plunged himself and his instrument into this scenario of darkness and despair, leavening things a little in places with some resigned moments of light in the gloom before rechannelling his energies for another irruption which seemed to come out stamping and snorting! – to then immediately break into a tarantella, the “wildest of dances”, the pianist’s fingers flying over the keys, alternating strength and power with delicacy. Respite of sorts came with the cantabile theme, though as the piece gathered momentum, and the “swirl of the girl gone chancing, glancing, dancing” became wilder, some of the melody’s accompanying trajectories began to sound as hair-raising as the tarantella itself. The ending? – it was pure, unadulterated panache on both composer’s and performer’s part, and earned Jason Bae an enthusiastic and well-deserved reception.

We were returned to normality of a sorts by a couple of encores (yes, really! – and I’m obviously showing my age by remarking “and after all that expenditure of energy!”) – neither of the pieces I knew, though I laid bets with a friend afterwards as to their respective identities – the first, I thought sounded like Liszt, the second Rachmaninov! Thus far, neither of us has collected any winnings from the other, though I’m sure it’s only a matter of time……..