Chopin is special to Lim Yun-chan. He is my most respected composer and I also have a happy relationship with him, having won second place and the Chopin Special Award at the Cleveland Youth International Competition in 2018. This time, he released the album , filled with Chopin’s beautiful and elaborate melodies. It is also the first studio album worked with Decca, a world-famous classical music label. “Chopin’s etudes contain many emotions, including the groaning of the earth, the regret of an old person, a love letter, longing, sorrow, and freedom. Even when I wasn’t practicing the etude, the song of the etude remained in my heart and continued to deepen. It is truly a great honor to have Chopin’s Etudes recorded and released on the Decca label.” In the album, which consists of a total of 24 tracks, Lim Yun-chan chose track 19, Etude Op. 25, No. 7 ‘Cello’, as the most difficult song. “It is a song that is as fun to play as it is difficult. “The narrative of the song continues from the first note to the last note, and I wanted to fully express the emotions with the first two words.” The time devoted to practicing these two words was a whopping 7 hours. Lim Yun-chan, who has completed a long and difficult journey, personally delivered good news about the new album and the domestic recital starting on June 7th through a Zoom interview. The story continued for about 40 minutes in front of about 40 reporters in a careful, serious and clear voice, as if tapping the keyboard. We are revealing the Zoom interview of Lim Yun-chan, who cut his hair neatly and stared at the monitor.
Recently, a performance was canceled due to a wrist injury. Are you recovering well?
After resting for 1-2 weeks, things returned to normal. Now I have no trouble playing the piano at all. However, I plan to work on controlling my condition for a while to ensure a complete recovery.
Decca’s debut album was officially released on April 19th. How do you feel about the release?
Since Etude is a work I have been listening to and practicing since I was very young, I feel like I have finally ‘vomited out’ the lava that had been inside me for 10 years. I am so honored, and I would like to express my deepest gratitude to Decca for allowing me to complete this repertoire.
I seem to say the word ‘lava’ often. In a recent Instagram post, he quoted pianist Soprnitzky and said, “I hope that those who listen to my album will find my music like hot lava wearing seven layers of armor.”
right. This is what Soprnitsky said when he won eight competitions. Rather than speaking with Chopin in mind, it was a story about my playing itself.
What was the recording process like?
First of all, I was playing what I had practiced to my heart’s content, but if I felt like I was straying from Chopin’s text, the great director (John Fraser) helped me stay centered. That’s how the balance was struck. The advantage of a studio album is that you can record several versions of what you want to do, then choose the one you like best and present it. That’s why I wasn’t nervous, I just focused on what I wanted to do and finished the recording in a very good mood.
Is there a point in this album that you want the audience to pay particular attention to?
Actually, all 24 songs are very precious to me. One thing that comes to mind is that while recording the song Etude No. 9 G-Flat Major ‘Bufferfly Wings’, there is a measure in which the left hand note is completely changed. When Ignaz Friedman tried something similar, the notes were so attractive that I tried something completely different while recording it this time. However, the director, who can catch different notes like a ghost, said that this was very attractive and that it seemed like a very special improvisational left hand. I think you might enjoy listening to that part.
It was impressive to hear that while practicing the etude, he told his own story for each song. When you listen to a song, does your own image automatically unfold in your head? Or do you think intensely and build your own story to tell it?
I tend to worry a lot. This applies not only to Chopin etudes but also to other pieces. There is a very famous story among the stories Horowitz told. There is always a hidden story behind a note, and interpreters must know the content beyond the note. I agree. The process is very difficult, time-consuming, and requires a lot of thought, but I still follow this method.
The news that he practiced two measures of Etude No. 25-7 ‘Cello’ for 7 hours became a hot topic. Really?
It may not have been 7 hours, but I thought and practiced all day for those two words. If it doesn’t hit your heart when you press the first note, it’s not really practice. Only by hitting the heart can you move on to the next note.
How many hours do you practice per day?
It varies every day, but on average I practice for about six hours. However, it was different while preparing this album. Because I didn’t have time, I had to practice about 12 hours a day.
Does the same song give you a different feeling every time you play it?
It may vary depending on the day. Even with the same etude, there are days when you want to hit it like a moth is flying, and other days when you want to hit the pedal only 1/10th the way it feels like it’s going by.
“Ever since I was young, I wanted to become a serious musician. Therefore, he wanted to follow his roots and chose Chopin’s etudes.” What kind of musician do you think is a fundamental musician? And what efforts does he make to become such a musician?
The first is someone who has very deep beliefs about themselves and expresses them without fear. And a musician who is very sincere and has a light humor that comes at really unpredictable times. Another person is someone who makes music that hits at the heart, but actually, I don’t think this happens through hard work. Only geniuses chosen by the times and truly blessed people can do it, but I think the most important thing for an ordinary person like me is to practice every day and live truthfully.
Isn’t that too humble?
Absolutely not.
What kind of musician is that kind of person to you?
Ignaz Friedman, Sofronitsky, Vladimir Horowitz, Yuri Egorov, and many others come to mind. Actually, this recording was partly inspired by the performances of those people, but it largely came from my desire to overcome the mountain in front of me. The will to climb that mountain at my current age led me to create this album.
I once heard that in order to properly play Liszt’s work, I read Dante’s . Are there any books you referred to or enjoyed reading while preparing for this album?
I read a book called ‘In Search of Chopin’ by Alfredo Corto. It is not a book that contains everything about Chopin, but things such as Chopin as an educator, Chopin’s appearance, Chopin’s playing, and Chopin’s later years gave me a lot of inspiration.
Are there any areas where you feel you have grown more than when you won first place at the Van Cliburn International Piano Competition two years ago?
The performance I did back then was not my true self. I think I became a bit hardened in an environment where I focused on studying. I also felt like I was trapped. Now I try to think more positively than then, and I feel more relaxed on stage. Things are changing for the better in many ways.
Is there Lim Yun-chan’s own mental management method?
There is no separate one. On days when performing is too difficult, I just pass by thinking, ‘It’s hard.’ Accepts anything well.
He is studying abroad at the New England Conservatory with his teacher, Professor Minsu Son. What is studying abroad like?
In fact, the time spent here is very small. This is because it is a series of days where you keep practicing, go somewhere, and then come back and practice. Instead, the house got a little bigger.
What are your plans now?
The Baltimore Symphony Orchestra’s performance at the end of April will feature the premiere of Rachmaninoff with Marin Alsop. In May, she will perform with the Lucerne Symphony and Sendai Philharmonic, and then return to Korea to continue her recital tour for a month. I don’t know much about the schedule after that.
What would you like to say to Korean audiences as you hand over your new album?
Thank you for your interest in this album, which is lacking. I would also like to express my deepest gratitude to those who participated in the Zoom interview early in the morning.
