2024-04-21 10:44:32
Pianist Lim Yun-chan’s (20) Chopin etudes collection was released on the 19th. It is his debut album on the prestigious British record label Decca and his first studio recording. The two song collections, Op.10 and Op.25, are designed to maximize the pianist’s technique, and each of the 24 songs pursues its own formative beauty, making it the quintessential Romantic piano collection. Lim Yun-chan previously released Op.10-3, known as the ‘Breakup Song’, as a single in February of this year.
The first thing that catches your ear in the album is the tempo. On most tracks, he is faster than other today’s performers and even faster than past masters such as Horowitz, Sofronitzky, and Cortot. This tempo setting is unusual.
‘Songs’ that have never been heard before come out not only from the melody line but also from numerous vocal parts, including the left hand’s bass and middle range. As the songs progress, it becomes apparent that most of the fast tempos are effective in creating a natural connection between the songs. Each phrase approaches with a long breath, and the disconnected inner voices are connected in a way that is noticeable.
At a video conference commemorating the album release on the 20th, the reporter said, “Chopin Op. I was asked, “I am similar in age to when I wrote the 10th Etude Collection, so did I empathize with people of the same age?” Lim Yun-chan said, “I didn’t think in particular.” The question was wrong. It was not a meeting of two people in their early 20s, but a meeting between a ‘young old man’ Chopin and a ‘young old man’ Lim Yun-chan. Instead, Lim Yun-chan added, “It was more important to divide the characteristics of all 24 songs into different ones and figure out where the heart of each song is.” It shows that he recognized these songs as 24 emotional dramas.
There are many impressive parts, even if we only select a few. Op. In 10-2 and 10-5, the technical smoothness, aesthetic volume distribution, and clearly audible singing of the inner voices stand out. Op.10-12, known as the ‘revolutionary’ etude, continues to change the dramatic ups and downs of the left hand, and the wide range of breathing creates overwhelming passion. The huge contrast of dynamics in Op 25-10 also gives a unique resonance.
Regarding the release of this album, he said, “It feels like I vomited out the lava that had been inside me for 10 years.” It is an homage to the words of 20th century pianist Vladimir Sofronitsky who said, ‘Great art is like lava wearing seven layers of armor.’ Lim Yun-chan studied the masters of Chopin’s etudes from the previous era, such as Cortot and Friedman, and confessed, “I wanted to become a fundamental musician like them.” “I think a fundamental musician is one who listens with his ears and just hits his heart without taking the time to think with his head.”
It was difficult to find parts that directly paid homage to or quoted the performances of previous masters such as Sofronitsky. The exception is number 9 of Op.25. He said that the part where the left hand’s force was overlapped and emphasized differently from the score was directly influenced by Ignaz Friedman’s album.
With this album, Lim Yun-chan was selected as the ‘Selection of the Month’ for May by the famous British music magazine ‘Grammerphone’. Gramophone said, “His Chopin is flexible and light as a feather, and is attractive not only for its details but also for its structural sense. “He radiates youthful vitality.”
Yoo Yun-jong, cultural reporter [email protected]
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2024-04-21 10:44:32