Eugene Ugorski, who is following in the footsteps of Old Russian Romantic masters such as Jascha Heifetz, speaks to The Korea Times in Seoul, Nov. 8. He will make his Korean recital debut in February. / Courtesy of Vincero

By Lee Hyo-won

The Old Russian School of classical music emphasizes warm tones and a rich romanticism, crowned by a rigorous precision that gives flight to each and every note even when playing at breathtaking prestissimo.

Early 20th-century Russian violinists David Oistrakh and Jascha Heifetz are widely considered champions of this style, and continuing this lineage in the new millennium is a young Russian-American, Eugene Ugorski.

Given his Russian pedigree ― having family roots there and having trained under

Eugene Ugorski performs for fans during a showcase at Munho Art Hall, Seoul on Nov. 9, ahead of his recital at Seoul Arts Center on Feb. 19, 2011. / Courtesy of Vincero

Igor Grupmann, who learned from Heifetz himself _ it seems quite natural for Ugorski to be called the next big thing in Russian romanticism (his talent certainly caught the ear of Russian Maestro Valery Gergiev).

With his electrifyingly intense, ripe-toned playing, as displayed during his Seoul showcase last week, the young man is bringing a new impulse as well ― ``people were saying that it was as if he were channeling the great Russian violinist, David Oistrakh, but the point was how original and fresh Ugroski’s approach is... he also already has a mind and a heart,’’ said the Boston Globe.

Yet offstage he seems like any other 21-year-old, easy-going and fiddling with his iPhone, which contains not only classical music but the latest rock tracks as well.

``My main goal is not to screw it up,’’ Ugorski told The Korea Times in Seoul last week. He may be laid back and constantly cracking jokes, but he is most serious about ``not screwing it up’’ ― meaning playing his role as a classical musician, of bringing to life time-honored traditions ``the right way.’’

``We have to keep (classical music) going and also pay attention to how it should sound. There are limits you can’t exceed ― I believe there is such a thing as `incorrect’ playing. You have to do your homework ― listen to music and look at the score.’’

He considers himself first and foremost a player of the Russian school. ``I mainly specialize in Russian classics. I’m particularly a fan of the Heifetz school.’’ Though born in St. Petersburg in 1989, he grew up in California and went to a normal school. Yet his artistic constitution is thoroughly Russian ― he comes from a family of Russian musicians (a pianist mother and flutist father) and learned from Russian musicians.

``I come from a musical family and it was inevitable that I became a musician. I was about five when I first started playing the violin and just never stopped ― it was like a new toy. I remember this time very well; I always went to concerts and listened to recordings of great artists and now I’m fortunate enough to be playing and working with these people,’’ he said.

He made his professional debut at age eight and had been playing with America’s top ensembles when Maestro Gergiev invited him, only 15 at the time, to perform the Tchaikovsky Violin Concerto at the 2005 Moscow Easter Festival.

``It was a life-changing experience,’’ he recalled meeting the Russian maestro. ``I grew up watching him so it was an honor. I suppose it was the Russian connection (that led me to meet him) and it was career-changing. After you play with him, it’s easier to play and you won’t ever get nervous again. He has the ability to make the best orchestras even better.’’

The Moscow event launched his international career and he moved to Amsterdam two years ago to cater to his globetrotting lifestyle ― debuts with the Rotterdam Philharmonic, BBC Symphony and Seoul Philharmonic Orchestra. The latter, which was in 2008 with Maestro Chung Myung-whun, marked his first performance in Asia.

``I loved playing with Maestro Chung, and Asia is really an exciting place for classical music these days,’’ he said, also noting musicians of Korean heritage such as violinist Sarah Chang (``the most amazing prodigy I’ve ever seen,’’ he said) and cellist Chang Han-na (``she is one of the funniest people that I know’’).

Ugorski was in town to showcase his style, which seems to have already infused itself in the hearts of the young fans, ahead of his recital debut here next spring.

When one member of the audience asked what kind of artist he aspires to be in the future, he said, ``I just want to keep playing, taking on more mature repertoires. There are so many artists who stop practicing and become worse as they age.’’

Even until now, throughout his decade-long career, it hasn’t been easy balancing work and homework as a teenager. But everything comes down to a love of performing. ``I just love being onstage; you leave behind everything backstage ― relationship problems, stress, everything ― and just play.’’

Ugorski will give a recital at Seoul Arts Center on Feb. 19, 2011. ``I plan to play pieces that show my signature style, such as the Brahms Third Sonata and Franck Sonata. The exact program hasn’t been set yet.’’

The program and ticket reservation information will be announced soon. Call (02) 599-5743.