Amid Beethoven, Tchaikovsky and other classical powerhouses ruling the November music scene here, French pianist Pierre-Laurent Aimard’s Sunday recital highlighting contemporary classical composers was bold but a successful breath of fresh air.

The concert held at LG Arts Center was delicate, sophisticated and a good two-hour journey into a field of music many Koreans were not familiar with.

His program was filled with some friendlier names such as Debussy and Schumann ― his Debussy was clear and refined as expected and Schumann variation was uniquely passionate ― but it was his Ligeti that charmed the audience the most.

It is well known that Aimard was the most favored pianist of the Hungarian composer. He had premiered several of Ligeti’s pieces and recorded most of his works, which are considered Ligeti textbooks among pianists.

The six studies ― “Der Zauberlehrling,” “Galam Borong,” “Cordes vides,” “Fm,” “Automne Varsovie” and “L’Escalier du Diable” ― may have been abstract pieces for the audience if it weren’t for Aimard’s clear, perfect strokes on each key.

The pianist, dubbed the “guardian of contemporary classical music,” was keen to explain that “modern” music is not that difficult and is as aesthetic as other musical styles. He brought the scores onstage and played them meticulously. He controlled the tunes and tones, not overplaying but using ample pedal effects to make sure that people understood the affluence of Ligeti’s world.

Aimard’s encore session was “kind” to the audience, trying to make up for the “dryness” exposed in his regular program. He played Elliott Carter, Ligeti and Debussy, trying to deliver the humorous flanks of the pieces with comic facial expressions and dedicated explanations in between pieces.

His efforts paid off. After the recital, people, including little children with smiles on their faces, lined up to get his autograph on CDs and program leaflets.

By Bae Ji-sook (baejisook@heraldcorp.com)