Latest news with #SymphonicDances
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.
Times
20-05-2025
- Entertainment
- Times
RLPO/Hindoyan review — an orchestra and conductor in their element
Piercing audience whooping-up was much in evidence as the Royal Liverpool Philharmonic ended this riotous Barbican concert, the last stop in its spring tour of England and Ireland. And I fully understood why. The wind section alone of the RLPO, so immaculately tailored, so pungently coloured, must be the best in all of the UK's top orchestras. Its players were at their finest in the second chunk of the first of Rachmaninov's Symphonic Dances, the chunk centred on that suavely heart-tugging alto saxophone solo (thank you, Carl Raven).Another good reason for the whoops was the Venezuelan Domingo Hindoyan, described by a passing audience member as 'a total dude' and now comfortably in his fourth year as the orchestra's chief conductor. He's clearly in his
Irish Post
12-05-2025
- Entertainment
- Irish Post
Cormac Henry's return to Dublin with Royal Liverpool Philharmonic has ‘particular poignance'
FLAUTIST Cormac Henry is preparing to return to the venue where he gave his very first performance as a member of the national youth orchestra of Ireland. The Kerry native, who took up the flute aged seven, began has studies at the Kerry School of Music before moving on to study in Dublin and the Guildhall School of Music and Drama. In 2002 he joined the Royal Liverpool Philharmonic Orchestra as principal flute and it is with them that he will perform at Dublin's National Concert Hall this Thursday, May 15. 'It's always a pleasure to be back performing in Ireland, but this visit has a particular poignance for me as we are performing Rachmaninov's Symphonic Dances,' Henry said this week. 'This was the first piece of music I ever played as Principal Flute of the national youth orchestra of Ireland and knowing I will be back sitting in the same seat playing the same piece in the Concert Hall as I did 30 years ago feels very special.' Henry admits that the Irish capital has a 'special place' in his heart. 'Although from Kerry, Dublin has a special place in my heart, both of my parents were from Dublin and it was where I really started to believe I could be a musician,' he explained. 'My uncle was Lord Mayor for a year in the 80s and I have fond memories of riding bikes around the bedrooms (and down the stairs!) of the mansion house when my family used to visit.' The Royal Liverpool Philharmonic Orchestra is the UK's oldest continuing professional symphony orchestra, the origins of which date back to the formation of the Royal Liverpool Philharmonic Society by a group of Liverpool music lovers in 1840. See More: Cormac Henry, Dublin, Kerry, Royal Liverpool Philharmonic
