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Korea Herald
16-07-2025
- Entertainment
- Korea Herald
(Review) Sohn Min-soo, Lim Yunchan's four hands, one voice bring 1,500 to their feet
Teacher-pupil duo presents shared history, mutual respect, inspiration on stage One of the most anticipated classical concerts of the season took place at the Seoul Arts Center on Tuesday evening. In the last of the three performances in Korea before moving on to the Verbier Festival in Switzerland later this month, pianist Sohn Min-soo, 49, and his pupil Lim Yunchan shared the stage ― an occasion that affirmed what the 21-year-old has often attested to in interviews: the deep influence of his teacher. From the moment the lights dimmed, the audience was ready to be transported. So eager, in fact, that many hurried to clear their throats before the performance began. The oddly synchronized chorus of coughing triggered a brief ripple of laughter ― a shared understanding to embrace the silence that would follow. And why should they not be so bristling with anticipation? Since rising to fame, Lim has exceeded every expectation with his solo recitals, collaborations and chart-topping albums. Yet this particular evening was not just about technical brilliance; it was about a conversation between two artists who know each other intimately. Their journey together began in 2017 at the Korea National Institute for Gifted in Arts, under the Korean National University of Arts, and continued at the country's top art school. In 2023, Lim followed Sohn to the New England Conservatory. The two pianists sat side by side, each in front of a Steinway & Sons piano. Facing opposite directions, their eyes could meet with a simple leftward turn of the head. For the first half of the performance, the duo performed Brahms' sonata for two pianos in F minor, Op. 34b, with the professor seated at the first piano, positioned at the front of the stage. Brahms originally wrote the piece as a quintet for a piano and string quartet, but later reworked it into a sonata for two pianos. "This piece carries Clara Schumann and Brahms' deep friendship, wistful connection and mutual respect," Sohn explained in a recent interview. Echoing that spirit, the duo's 50-minute performance reflected their own deep connection and mutual respect, culminating in Lim's last moment of eye contact with Sohn and a single drop of perspiration falling from his chin. Returning to the stage after an intermission, the duo filled the concert hall with more energy as they performed Rachmaninoff's "Symphonic Dances," this time Lim taking the first piano. It was a piece they had listened to together many times, often sharing their amazement and engaging in long conversations about a historic recording of Rachmaninoff himself improvising at the piano before conductor Eugene Ormandy. Through this electrifying score, Sohn and Lim continued their musical dialogue once more, but now in a more dynamic, sharply contrasted language that vividly showcased their shared intensity and individuality. Lim's gestures were expressive and expansive ― his foot tapping nearly twice as much as Sohn's, his body swaying with intensity. Sohn, on the other hand, was more contained, more grounded. Yet despite these stylistic differences, they produced a remarkably unified sound: finely balanced, intuitive and breathing as one. The duo concluded their recital, under the banner of 'Hyundai Card Culture Project 30: Sohn Min-soo & Lim Yunchan' as the latest installment in Hyundai Card's Culture Project series, with Strauss' "Der Rosenkavalier," or "The Knight of the Rose." It was first introduced to Sohn by his teacher, Russell Sherman, and later shared with Lim, becoming meaningful for them both. The two-piano arrangement they performed was written by young composer Lee Hanurij, described by Lim as 'a musician chosen by God.' As the final notes faded, the audience rose in near-unison in a standing ovation, their applause echoing the emotional weight of the performance. For the encore, the duo performed the 'Quick Waltz' from "Der Rosenkavalier Suite." Covered in perspiration, they lifted their hands in thanks to the crowd.
Korea Herald
08-07-2025
- Entertainment
- Korea Herald
Sohn Min-soo, Lim Yunchan on sharing the stage
Two pianos singing in harmony: Teacher and pupil talk about meaning of collaboration, repertoire and more Celebrated pianists Sohn Min-soo and Lim Yunchan will share the stage next week in a rare four-hand concert in Seoul, presenting works by Brahms, Rachmaninoff and Strauss. Ahead of their performance in Seoul -- and at the Verbier Festival in Switzerland later this month -- they shared their thoughts in writing about preparing for the concerts, the meaning of playing together, and what a duo performance reveals that solo stages cannot. For Sohn, 49, a respected educator and laureate of the Honens International Piano Competition, and Lim, 21, who rose to international prominence after winning the Van Cliburn International Piano Competition at 18, preparing for this program was a process of conversation and exploration. 'One of the privileges we cherish as musicians is imagining the next stage while searching for new repertoire,' Sohn noted, describing how their discussions focused on what constitutes 'good music' and 'good performance.' 'We chose works that let our musical voices meet naturally and form a unified flow -- pieces that matter deeply to both of us," Sohn added. In addition to Brahms' Sonata for two pianos in F minor, Op. 34b, their program features Rachmaninoff's "Symphonic Dances" and a two-piano arrangement of Strauss' "Der Rosenkavalier" suite. 'These are pieces I've carried somewhere in my heart since I was young," Lim said. Sohn explained that Rachmaninoff's "Symphonic Dances" is, in a sense, the culmination of the composer's life, written in his final years. "For a long time, Yunchan and I have listened together to a recording of Rachmaninoff himself improvising at the piano before Ormandy (conductor Eugene Ormandy), sharing our amazement and many conversations about it. The piece, which heightens emotions of death, faith and transcendence through dance, is a work that has naturally remained deeply within us." Strauss' "Der Rosenkavalier" was first introduced to Sohn by his teacher, Russell Sherman, and later shared with Lim, becoming meaningful for them both. The two-piano arrangement they will perform was crafted by young composer Lee Hanurij, whom Lim described as 'a musician chosen by God.' 'People often say everything in this world is already decided, but I believe that, among all things, it is God who chooses who will make music. And from what I have seen, Hanurij is one of those musicians,' Lim said, adding that Lee's deep understanding of the piano allows him to bring out the instrument's unique charm in this arrangement. Sohn noted that the arrangement preserves the nuance and emotional depth of the original while revealing a density and delicacy unique to the piano. 'It will be a special experience to share the beauty and depth of this piece -- which is not often encountered outside of a large production -- through the more intimate scale of two pianos,' he said. For both pianists, the essence of duo performance lies in listening. Sohn emphasized the importance of responding to the other's voice and recognizing that the music is completed not by one's own sound alone but by how the performers share space and embrace each other's interpretations. "Rather than performing in a particular way, I simply want to sing together. Performing together means that, while we are teacher and student, we are also two people from completely different worlds coming together to create music. The fact that these two very different individuals meet, spend time thinking and struggling, and arrive at the music they create together -- that in itself is what gives this performance its meaning," Lim said, adding that a good duo is "one that makes the piano sing." Speaking about each other's playing, Sohn highlighted Lim's ability to create moments on stage that draw listeners in, and his dedication to serving the music. Lim shared that his teacher's influence is immeasurable in every aspect of his life. "I love those magical moments when Yunchan is on stage, as if he is redrawing time and space, instantly drawing in the audience's breath. And I am deeply moved by the way he prepares more intensely than anyone to create that true sense of freedom, constantly emptying himself to understand the essence of the music, and willingly setting aside everything else for the sake of music. Offstage, he is someone who always prompts me to ask new questions. At times, he reminds me of certain essentials I had forgotten. Before being my student, he is a fellow musician who loves and shares music, and I respect his sincerity and passion," Sohn said. "It is impossible to single out just one influence because my teacher has had an absolute and far-reaching impact on both my life and music," Lim noted. The concert "Hyundai Card Culture Project 30: Sohn Min-soo & Lim Yunchan,' part of Hyundai Card's Culture Project series, takes place July 14 at Lotte Concert Hall and July 15 at Seoul Arts Center Concert Hall.
Korea Herald
08-07-2025
- Entertainment
- Korea Herald
Two pianos singing in harmony: Sohn Min-soo, Lim Yunchan on sharing the stage
Teacher and pupil talk about meaning of collaboration, repertoire and more Celebrated pianists Sohn Min-soo and Lim Yunchan will share the stage next week in a rare four-hand concert in Seoul, presenting works by Brahms, Rachmaninoff and Strauss. Ahead of their performance in Seoul -- and at the Verbier Festival in Switzerland later this month -- they shared their thoughts in writing about preparing for the concerts, the meaning of playing together, and what a duo performance reveals that solo stages cannot. For Sohn, 49, a respected educator and laureate of the Honens International Piano Competition, and Lim, 21, who rose to international prominence after winning the Van Cliburn International Piano Competition at 18, preparing for this program was a process of conversation and exploration. 'One of the privileges we cherish as musicians is imagining the next stage while searching for new repertoire,' Sohn noted, describing how their discussions focused on what constitutes 'good music' and 'good performance.' 'We chose works that let our musical voices meet naturally and form a unified flow -- pieces that matter deeply to both of us," Sohn added. In addition to Brahms' Sonata for two pianos in F minor, Op. 34b, their program features Rachmaninoff's "Symphonic Dances" and a two-piano arrangement of Strauss' "Der Rosenkavalier" suite. 'These are pieces I've carried somewhere in my heart since I was young," Lim said. Sohn explained that Rachmaninoff's "Symphonic Dances" is, in a sense, the culmination of the composer's life, written in his final years. "For a long time, Yunchan and I have listened together to a recording of Rachmaninoff himself improvising at the piano before Ormandy (conductor Eugene Ormandy), sharing our amazement and many conversations about it. The piece, which heightens emotions of death, faith and transcendence through dance, is a work that has naturally remained deeply within us." Strauss' "Der Rosenkavalier" was first introduced to Sohn by his teacher, Russell Sherman, and later shared with Lim, becoming meaningful for them both. The two-piano arrangement they will perform was crafted by young composer Lee Hanurij, whom Lim described as 'a musician chosen by God.' 'People often say everything in this world is already decided, but I believe that, among all things, it is God who chooses who will make music. And from what I have seen, Hanurij is one of those musicians,' Lim said, adding that Lee's deep understanding of the piano allows him to bring out the instrument's unique charm in this arrangement. Sohn noted that the arrangement preserves the nuance and emotional depth of the original while revealing a density and delicacy unique to the piano. 'It will be a special experience to share the beauty and depth of this piece -- which is not often encountered outside of a large production -- through the more intimate scale of two pianos,' he said. For both pianists, the essence of duo performance lies in listening. Sohn emphasized the importance of responding to the other's voice and recognizing that the music is completed not by one's own sound alone but by how the performers share space and embrace each other's interpretations. "Rather than performing in a particular way, I simply want to sing together. Performing together means that, while we are teacher and student, we are also two people from completely different worlds coming together to create music. The fact that these two very different individuals meet, spend time thinking and struggling, and arrive at the music they create together -- that in itself is what gives this performance its meaning," Lim said, adding that a good duo is "one that makes the piano sing." Speaking about each other's playing, Sohn highlighted Lim's ability to create moments on stage that draw listeners in, and his dedication to serving the music. Lim shared that his teacher's influence is immeasurable in every aspect of his life. "I love those magical moments when Yunchan is on stage, as if he is redrawing time and space, instantly drawing in the audience's breath. And I am deeply moved by the way he prepares more intensely than anyone to create that true sense of freedom, constantly emptying himself to understand the essence of the music, and willingly setting aside everything else for the sake of music. Offstage, he is someone who always prompts me to ask new questions. At times, he reminds me of certain essentials I had forgotten. Before being my student, he is a fellow musician who loves and shares music, and I respect his sincerity and passion," Sohn said. "It is impossible to single out just one influence because my teacher has had an absolute and far-reaching impact on both my life and music," Lim noted. The concert "Hyundai Card Culture Project 30: Sohn Min-soo & Lim Yunchan,' part of Hyundai Card's Culture Project series, takes place July 14 at Lotte Concert Hall and July 15 at Seoul Arts Center Concert Hall.
New Indian Express
19-06-2025
- Entertainment
- New Indian Express
Alfred Brendel, pianist renowned for refined playing of Beethoven, dies at age 94
LONDON: Alfred Brendel, a pianist and poet renowned for his refined playing of Beethoven over a six-decade career, died Tuesday at his home in London. He was 94. Brendel's death was announced by the public relations agency Bolton & Quinn. Born in what is now the Czech Republic, Brendel gave his first recital in Graz, Austria, in 1948 at age 17. His final concert was with the Vienna Philharmonic at the Musikverein on Dec. 18, 2008. 'I grew up in a family that was not musically inclined, not artistically inclined and not intellectual, so I had to find out a lot of things for myself,' he said in a 2012 interview for the Verbier Festival. 'I was a young person who in the early 20s did not think I have to achieve something within five years but I thought I would like to be able to do certain things when I'm 50. And when I was 50 I said to myself I have actually done most of the things I want to do.' Brendel also was praised for his interpretations of Mozart, Schubert, Liszt and Haydn. He recorded the 32 Beethoven piano sonatas three times, and he played them over a month at New York's Carnegie Hall in 1983, among 77 recitals in 11 cities during the 1982-83 season. He repeated the sonatas again at Carnegie over three seasons in the 1990s. 'With winks to the audience and demonstrative hand movements, he has a playful manner that offsets his serious, contemplative interpretations,' The Associated Press wrote during the 1990s cycle. Born on Jan. 5, 1931, in Wiesenberg, northern Moravia, Brendel studied piano in Zagreb, Yugoslavia, with Sofia Dezelic and then at the Graz Conservatory with Ludovika von Kaan. He also took composition lessons with Artur Michl. His studies were interrupted when he and his mother fled as the Russian army invaded during World War II.
Yomiuri Shimbun
19-06-2025
- Entertainment
- Yomiuri Shimbun
Alfred Brendel, Pianist Renowned for Refined Playing of Beethoven, Dies at Age 94
AP file photo Austrian pianist Alfred Brendel performs at the piano with the Royal Concertgebouw Orchestra at the Lucerne Festival in Lucerne, Switzerland on Sept. 5, 2006. LONDON (AP) — Alfred Brendel, a pianist and poet renowned for his refined playing of Beethoven over a six-decade career, died Tuesday at his home in London. He was 94. Brendel's death was announced by the public relations agency Bolton & Quinn. Born in what is now the Czech Republic, Brendel gave his first recital in Graz, Austria, in 1948 at age 17. His final concert was with the Vienna Philharmonic at the Musikverein on Dec. 18, 2008. 'I grew up in a family that was not musically inclined, not artistically inclined and not intellectual, so I had to find out a lot of things for myself,' he said in a 2012 interview for the Verbier Festival. 'I was a young person who in the early 20s did not think I have to achieve something within five years but I thought I would like to be able to do certain things when I'm 50. And when I was 50 I said to myself I have actually done most of the things I want to do.' Brendel also was praised for his interpretations of Mozart, Schubert, Liszt and Haydn. He recorded the 32 Beethoven piano sonatas three times, and he played them over a month at New York's Carnegie Hall in 1983, among 77 recitals in 11 cities during the 1982-83 season. He repeated the sonatas again at Carnegie over three seasons in the 1990s. 'With winks to the audience and demonstrative hand movements, he has a playful manner that offsets his serious, contemplative interpretations,' The Associated Press wrote during the 1990s cycle. Born on Jan. 5, 1931, in Wiesenberg, northern Moravia, Brendel studied piano in Zagreb, Yugoslavia, with Sofia Dezelic and then at the Graz Conservatory with Ludovika von Kaan. He also took composition lessons with Artur Michl. His studies were interrupted when he and his mother fled as the Russian army invaded during World War II. 'When I turned 16, my piano teacher told me I should now continue on my own and give a first public recital,' he recalled during a lecture after his retirement. 'I should also audition for the great Swiss pianist Edwin Fischer, which I did the following year. Three of his masterclasses that I attended during the Lucerne festivals made an impact that lasts to this day. I also met Eduard Steuermann, the pupil of Busoni and Schoenberg. Apart from these encounters, I studied on my own.' Brendel had lived in London since 1971. He received 10 Grammy nominations without winning. He wrote several books, including a collection of poems called 'Cursing Bagels.' 'I used to live a double life,' he said in a 2012 interview with the Verbier Festival. 'I'm also a literary person lecturing, giving readings of my poems and teaching.'
