Multiple Pianos Create Formidable Sound

From left, pianists Kim Jun-hee, Paik Kun-woo, Kim Sun-wook and Kim Tae-hyung play together in a rare concert featuring four pianos at Seoul Arts Center, Sunday. The four artists, shown here performing an encore piece on one instrument, are touring South Korea through Friday. /Courtesy of Credia

Evgeny Kissin’s Seoul tour in April seemed like it would be the most talked-about classical music event of the year. Barely a month following the Russian sensation’s performance, however, maestro Paik Kun-woo and three rising South Korean pianists set the Seoul Arts Center concert hall on fire -- again.

The beauty of a live piano performance is, in addition to hearing inspired melodies in real time, seeing the artist’s flying fingers in motion. Seoulites saw Monday and Tuesday such dynamics of not two but eight hands, conjuring to life four Steinways in ways the local art scene has never seen before.

A single one of these instruments is enough to generate the sound of an orchestra. Many multiple-piano pieces were originally conceived with the sound of the harpsichord or light fortepiano, and on modern instruments sounds tend to be unpleasantly thick and cluttered.

The recent performance -- something rare not only in Korea but also abroad -- brought together four shining artists that individually possess the star power to attract more than enough attention. In 2007 Paik rewrote classical music history by playing all 32 of Beethoven’s piano sonatas in just seven days. This time, joined by the three rising pianists -- Kim Tae-hyung, Kim Sun-wook and Kim Jun-hee -- the maestro pianist added a splash of color to the sometimes-monotonous local music scene (the three Kims, all barely past their teens and sharing the same alma mater as well as an impressive resume of top wins in international competitions, are unrelated).

With their inspired performance, the four artists hushed doubts that such a concert would be for show, and that four grand pianos could, with the right repertoire and teamwork, work together like a single unit. It was also a special treat to see the four alternate the parts of first, second, third and fourth pianos, instead of the elderly artist dominating the lead, for Wagner’s Overture to ``Tannhauser’’ and Milhaud’s ``Paris Suite’’ for Four Pianos, Op. 284.

A grand spectacle unfolded when Rachmaninov’s ``Symphonic Dances,’’ Op. 45, for two pianos, was presented in relay form, with Paik at the first piano and the three youngsters joining him one at a time for the three movements. The heated concert peaked with Ravel’s ``Bolero,’’ transcribed by Jacques Drillon, as the four instruments gave way to delightfully attuned interplay.

A full standing ovation followed, as heated as that in Kissin’s recital, and in return the players offered ``Carmen Fantasie,’’ and, sitting in a single row in front of one piano, Lavignac’s ``Galop-Marche.’’

Another special event took place Sunday, which also happened to be Paik’s 63rd birthday, and the three Kims sang happy birthday to Sun-wook’s piano playing.

The four pianists continue their tour tonight in Daegu and Friday in Goyang, Gyeonggi Province. Tickets cost from 20,000 won to 100,000 won. Call (02) 318-4301.

Beethoven’s `Fidelio’ to Be Staged in 17 Years

(Photo courtesy of MuAk Opera)

Seoul’s classical music scene is becoming increasingly diverse, but operas remain mostly limited to the standard repertoire of Mozart, Puccini and Rossini. MuAk Opera presents Thursday through Sunday a rare production of Beethoven’s ``Fidelio’’ -- for the first time here in 17 years and for the first time in the original German.

Beethoven’s unique opera, ``Fidelio’’ has been seldom revived since its 1805 premiere in Vienna under the German master’s own baton. Johan Simons brought the piece back into focus last fall through a modern reinterpretation at the Opera Garnier in Paris.

``Fidelio’’ debuted here in 1970 but wasn’t restaged until 1992 due to the strict military regime of the ‘70s and ‘80s. Set in 18th-century Seville, Spain, it traces a faithful wife Leonore’s efforts to save her husband Florestan, who had been illegally imprisoned for revealing the corrupt acts of Don Pizarro. She disguises herself as a man and enters the prison as a guard under the alias Fidelio and schemes to rescue Florestan from death row -- ``Prison Break,’’ anyone?

``We chose to stage `Fidelio’ rather than more popular works such as `Tosca’ because we felt a responsibility to introduce novel works to opera lovers,’’ said artistic general director Kim Kwan-dong in a recent press conference in Seoul.

``It isn’t light entertainment, as it depicts human sufferings. But the universal messages are relevant in modern society and shows that light shines in darkness,’’ he said. ``The story is dark but it is ultimately a happy ending,’’ said director Choi Ji-hyung. Indeed, the opera celebrates the triumph of love, justice and freedom. It also has some comic relief in the tradition of Shakespeare’s ``Twelfth Night,’’ where a young girl, Marzelline, falls in love with Fidelio.

The visuals will reflect the stark realism of the story, but MuAk Opera promises spectacular music, especially for the famous ``Prisoners’ Chorus’’ with an impressive cast of over 100 singers from the Grande Opera Choir. ``We did not want to compromise the work’s artistry for economic factors,’’ said the director.

``I’ve had the pleasure of hearing maestro (Choi Seung-han) conduct the chorus, and it’s one of the most beautiful sounds I’ve heard. From the quiet pianissimos to the triple forte, it had perfect diction and the most beautiful sound,’’ said American tenor Steven Harrison, who will share the role of Florestan with the popular Han Yoon-seok. Meanwhile, sopranos Na Kyung-hye and Susan Anthony will alternate the part of Leonore.

``Fidelio’’ begins at 8 p.m. except for Sunday, which will be a 4 p.m. matinee show. Thursday and Saturday productions will be in Korean, while the ones on Friday and Sunday will be in German. Tickets cost from 30,000 won to 150,000 won. Call (02) 720-3933.

Beethoven Galore

In addition to ``Fidelio,’’ other pieces of music by Beethoven will fill local halls throughout the month. The Seoul Spring Festival of Chamber Music, under the theme ``Beethoven Plus,’’ presents the composer’s chamber works through May 18 in various venues around the capital. Visit www.seoulspring.org.

On May 23, virtuoso pianist Kim Sun-wook will join his former teacher, pianist-conductor Kim Dae-jin, for Suwon Philharmonic Orchestra’s special two-part concert featuring Beethoven’s complete Piano Concertos, at Gyeonggi Arts Center in Seoul’s satellite city, Suwon, Gyeonggi Province. Call (031) 288-2813~5.

Evgeny Kissin Dazzles Korean Fans

Evgeny Kissin said that performance is ``the gift to composers and all of humanity,’’ and this pianist is the gift that keeps on giving. In his Seoul recital, Thursday, the Russian sensation _ or revolution rather, to imply the historic dimension of his presence _ gave 10 encores and serviced fans with an autograph session that continued past midnight.


(Photos courtesy of Credia)

The pianist’s concert was an event people did not want to miss. The concert hall of Seoul Arts Center was fully packed well before the show began, with less than a handful of latecomers slipping in after his delightful rendition of select pieces from Prokofiev’s ``Romeo and Juliet.’’
Each time the tall figure emerged onstage the audience exploded into applause but would hush instantaneously when he sat down.

No one dared to cough between the movements of Prokofiev’s Piano Sonata No. 8, and it was as if the members of the audience were turned into stone under the spell of Kissin’s magical pianism (OK this sounds so corny, but people, including myself, were so incredibly STILL). An occasional shifting in the seat would softly echo through the hall, and the musician’s deliberate but effortless notes hung suspended in the air, even after he took his fingers off the keys.

This genius, and one does not use this word lightly, has a way of holding you at the edge of the seat _ in the silence between the notes he holds your breath before poetry manifests itself in his rollicking, glistening phrasings. During concerts, this reporter is usually busy scribbling down notes, but throughout Kissin’s performances, she had to remember to breathe, quite literally. The audience had to try very hard not to clap after each etude as he proceeded immediately to the next one.

When the official program came to an end, the entire hall jumped into a standing ovation, and, a never before seen sight took place. People left their seats and crowded toward the stage, and organizers did not even attempt to intervene as a majority of the 2,500 people took out their cameras and cell phones to fill the hall with a tide of flashes. It must be noted here that the Korean audience is usually quite tame, and don’t try to breach regulations about taking photographs.

The cool hall became heated, quite literally, as fans cheered on for one encore after another. Kissin, looking a bit overwhelmed by the Korean audience _ whom he said is ``the most passionate of audiences, even more so than Italians’’ _ offered more Prokofiev and Chopin, and finally, a dazzling rendition of Mozart’s ``Turkish March.’’ He ended the 1 hour 20 minute encore by bowing gracefully with one hand on his heart _ a sign that the gift for the evening is over. Well, almost over.

A long serpentine line formed in the lobby for the autograph session, which lasted close to an hour until 12:30 a.m. A handful of people had to be turned away at the end, but most were seen jumping up and down in glee, having in possession a token of what would undoubtedly be the most talked-about classical event of the year.

Kissin performs less than 45 times a year, but he gives each session 300 percent, with the added bonus of, on average, 10 encores and a signing session. Chang Il-bum, music critic and radio DJ, has watched Kissin onstage over the years since the 37-year-old’s early days in Moscow. ``When I first saw him as a young man (in his 20s) in Moscow, I thought I’d seen it all, but each time I see him he sets new horizons. It’s difficult to imagine how he’d be like as a white-haired old man,’’ he told The Korea Times.

For the meantime one can only wait for the pianist’s return, and dream of what more he has to offer.

Maestro Paik, Rising Stars to Offer Four Piano Show

Maestro Paik Kun-woo, second from left, will give a rare concert featuring four grand pianos in May with three next generation pianists Kim Jun-hee, left, Kim Tae-hyung, third from left, and Kim Sun-wook, right. /Courtesy of Credia

Following 2007’s historic marathon of Beethoven’s complete piano sonatas in a week, maestro pianist Paik Kun-woo brings another unique project _ featuring four grand pianos in concert with three of South Korea’s hottest young artists, Kim Sun-wook, Kim Tae-kyung and Kim Jun-hee.

The idea for a concert featuring pieces for eight hands was conceived a few years ago, Paik told reporters Monday in Seoul. ``During (Franz) Listz’s time, renowned pianists came together for a concert featuring multiple pianos. I wondered how it would be to do something similar here, today,’’ he said.

Paik and the three Kims will alternate the parts of first, second, third and fourth pianos for Milhaud’s ``Paris’’ Suite for Four Pianos and Wagner’s ``Overture zu Tannhauser’’ transcribed for eight hands. Also included are Ravel’s ``Bolero’’ transcribed for the four instruments and Rachmaninov’s ``Symphonic Dances,’’ Op. 45. ``The multiple pianos will create grand sounds, and harmonize and resound like the glimmerings of twilight,’’ said the maestro.

While the performance itself is a one of a kind event, however, the pianist noted the significance of playing with young artists. ``If I think about it, my senior Han Dong-il inspired me. When I was going through hard times and loneliness in a foreign place, he was always there for me,’’ said the 62-year-old, who, with the elder pianist Han, was one of the first Korean musicians to debut overseas.

``In the past, Korean musicians had to build their careers on their own, but young musicians these days are blessed with well-trained local teachers,’’ he said. `` I am very proud of this new generation.’’ Paik saw the three young pianists perform in Paris, where he is currently based. ``They are all extremely talented, and cherish one another very much,’’ he said.

The three Kims are friends from the Korean National University of Arts. All barely out of their teens, they are seen as representing the new generation of pure, ``domestically-bred’’ musicians who have championed international events without having studied in the West at a young age. All three agreed it was a great honor to play alongside the maestro, and that it would be ``fun’’ to mix chemistries. >>More

Young Star Pianists to Go On Stage

Young, popular pianists will grace Seoul Arts Center this week ― Kim Sun-wook, 20, who is seen as a future leader of the Korean classical music world, will appear Friday with the Seoul Philharmonic Orchestra; Lim Dong-hyek, the 24-year-old with the following of a rock star, will perform Sunday with the Northern Sinfonia; and Evgeny Kissin, the 37-year-old Russian sensation, will perform a long-awaited recital for local fans on April 2.

>>Click for details

Prodigy Pianist Kim Sun-wook Goes International

Mr. Kim is the hottest headline maker in Korea's classical music scene, especially since he never studied abroad like his peers -- a triumph of the local arts education per se. He showed up looking like a typical teenager, like he just rolled out of bed. But his black garb and ironic speech screamed "artist" all over. I thought he was a kindred spirit -- an old person inside a young body.

Pianist Kim Sun-wook, 19, shares his thoughts about his musical career in a Korea Times interview. Having won major piano competitions and currently sealing a contract with an international arts management company, Kim is expanding his horizons onto the world stage. / Courtesy of the Seoul Arts Center

This is the first in a series of interviews with the next generation of classical musicians. ― ED.

Having first struck the piano keys at the age of three, Kim Sun-wook had won most of the major domestic piano competitions by 10. He skipped high school to enter the Korea National University of Arts to study under the distinguished pianist/professor Kim Dae-jin. By 18 he had won major international piano competitions, making headlines by winning the 2004 Ettlingen (Germany), the 2005 Clara Haskil (Switzerland) and the 2006 Leeds (United Kingdom) events as Asia's first and the world's youngest winner in 40 years.

Now, before turning 20 in April, Kim is signing a contract with the prestigious international arts management company Askonas Holt. He will be joining distinguished artists such as conductors Simon Rattle and Chung Myung-whun, cellist Yo-Yo Ma and soprano Sumi Jo.

``But nothing's changed all that much,'' Kim told The Korea Times. ``My childhood dreams ― winning first place at competitions or signing contracts ― have all come true at a relatively early age. It's true that I've worked hard to achieve them, and I just want to keep it up. ``I like the word consistency. Make constant effort, without stopping or worrying about slumps or such. That's my dream, to be consistent,'' he said.

Many musicians dream of moving people's hearts but that is not what drives Kim.

``It might be selfish, but I play for myself. Of course the stage exists thanks to the public, and I am grateful. But there are so many pieces I want to play, so many orchestras I'd like to perform with and so many music halls I wish to be in,'' he said about expanding his horizons.But what Kim calls ``selfishness'' may be seen as an introspective focus that keeps him going. The recent media buzz doesn't seem to bother him much either.

The pianist met with The Korea Times over Seollal or Lunar New Year's break at a hotel in downtown Seoul. But it was no holiday for him.

``It's the best time to practice because I have lots of leisure time,'' he said. With windswept hair and sporting jeans, Kim seemed like a regular guy ― stripped of the glossy looks of the sleek tuxedo-clad pianist onstage. But his mind never seems to leave performing. ``I wouldn't feel comfortable staying away from the piano for the three-day break. The pressure of having to practice kills me but I always look forward to the stage.

``Being onstage is an addiction,'' he said. ``The darkened audience seats and the lit up stage… I simply love it. But when I actually play, I separate myself from the audience, and focus,'' he said. ``I joke about how I wish I could say my birthplace was the stage instead of Seoul,'' he laughed.

But the extensive stage exposure last year wasn't easy. Before winning the Leeds competition, Kim performed about six times a year but afterward was playing about 40 times a year, including a debut in Europe. He was constantly pressed to learn a string of concertos after another in a limited amount of time.

What is music to him then? ``It's just something I had to do naturally ever since I was young. I never consciously thought I'd like to become a pianist or a musician. But a life where I am not doing music seems very unnatural. It has naturally become something I cannot live without,'' he said.

``I think (my connection with music) exceeds a relationship with a friend or lover. It's like dressing or breathing, something you do without thinking,'' he said.How then did he come this far? It can be traced down to a voracious hobby and unquenchable curiosity.

Avid Collector

``I absolutely loved going to hakwon (private institutions),'' he said, referring to his taking up of extracurricular activities such as taekwondo, calligraphy, piano and swimming, as well as working on workbooks at home when he was little.

Kim was an avid collector of almost everything, and seeing all the colorful workbooks and bags for each activity greatly excited him. He pursued all these activities quite seriously, earning a black belt for Taekwondo, but he made the most rapid progress with the piano. ``I think I was driven by the desire to collect the next music score or booklet more so than the wish to master each piece,'' he said with a laugh. Naturally, he spent more time in front of the piano and cut off the other activities.

``I buy CDs endlessly,'' he said. Such avid consumerism to satisfy his singular passion to collect items has led to expanding his musical repertoire to the violin, and a growing thirst to learn. He took violin lessons for about four years, but gave it up for both practical reasons -- having to carry around the expensive instrument all the time -- and musical reasons of it being highly dependent on the piano for accompaniment.

``My mother would always tune into classical music, like concerts that air on TV of the KBS Symphony or a famous orchestra from overseas. I would then look up information about the orchestra and all the other orchestras of that country,'' he said. ``They call me the `king of online research.'"

``So when people ask how I got this far and why, of all things, the piano, I have nothing to say… I just liked listening to recordings and attending concerts, and here I am,'' he said.A classical musician to the core, his interests are bound to the genre. ``When I go to a noraebang (singing room), I have nothing to sing. It was only last month that I heard `Tell Me' for the first time'' he said, about the hit pop song by the Wonder Girls, which stirred up the entire country last year.

It's not a ``normal'' life, per se. But Kim disagrees. ``I guess I'd be taking the college entrance exams right now… But I consider myself the norm,'' he said. ``It sounds egocentric, but I just focus on myself. All my wishes have come true so far, but I'm still immature, I guess,'' said the artist, not with haughtiness, but with the ease and assurance of traveling at his own pace.

Even being labeled ``young artist'' seemed to bother him. It's true that there are musicians, but they are individuals and are of all ages. ``The age of the artist may be young but not necessarily his music… Of course no matter how hard I try, in terms of experience I could never rival that of someone a year older. I just think it's best for someone to play like his age,'' he said.

But while he directs his musical focus inward, his mind seems to stretch far outward. Kim is often hailed as a triumphant example of pure homegrown talent. He was never torn away at a young age to be trained in a foreign institution. Kim's teacher Kim Dae-jin also expressed deep pride in his student's achievement at a recent press meeting.

Last fall, Kim gave his first performance in Paris when he took part in the non-profit organization Corea Image Communications Institute's showcase of Korean arts and culture.``Rather than limit myself to Korea and being Korean, I'd like to think of myself as a global citizen,'' he said, saying how important it is to open oneself up to different cultures.

Kim reminds one of a peaceful walk in the forest ― a moment of deep introspection that still allows time to admire the surroundings. In fact he said trees and natural scenery inspire him.

Kim will present one of his new pieces that he practiced over Seollal, Rachmaninov's Second Piano Concerto in a concert on Friday (invitation only) and Saturday. Joining him at the Seoul Arts Center are soprano Shin Young-ok and the KBS Symphony Orchestra. Tickets for Saturday cost 10,000-100,000 won. Call (02) 580-1300.

The pianist will give what will be an increasingly rare domestic performance with the BBC Philharmonic in March before going on a four-week military training camp in April, after which he will leave for Europe in the summer.