The 21-year-old South Korean pianist Yunchan Lim performs like an outdated soul. On a brand new album, he places his personal stamp on lesser-known music by Tchaikovsky.
Bonsook Koo
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Bonsook Koo
Generally it takes a first-rate artist to breathe life right into a second-rate piece of music.
Let’s be trustworthy, the set of piano miniatures known as The Seasons is just not top-shelf Tchaikovsky. Particularly when you examine it to Swan Lake, the ballet he was ending in late 1875 when he was approached by the editor of a St. Petersburg music periodical. The composer was supplied good-looking cost to jot down a sequence of piano postcards depicting every month of the yr, in chronological order. The writer added his personal descriptive subtitles for every bit.
Only some pianists have recorded the whole cycle, providing competent performances of those serviceable little items. However one thing unequalled is occurring in a brand new stay recording of The Seasons by the younger sensation Yunchan Lim. At age 18, the South Korean was the youngest ever to seize the gold medal on the Van Cliburn Worldwide Piano Competitors in 2022. It was one other Russian’s music — Rachmaninov‘s thunderous Third Piano Concerto — that clinched Lim’s victory. Tchaikovsky’s salon-like, mid-tempo Seasons could not be extra totally different.
All of it begins cozied as much as a crackling fireplace within the month of January, the place Lim finds a lot tenderness in Tchaikovsky’s delicately rolled chords. However for Lim, that fireplace is not blazing, it is petering out. He has concocted a storyline for the cycle, detailed within the album’s liner notes, which renders the writer’s picturesque subtitles all however ineffective. Lim views The Seasons as the ultimate, somber, yr in an outdated man’s life. And that units up a doubtlessly fascinating paradox of the younger and strong envisioning the outdated and feeble.
Whether or not you purchase Lim’s melodramatic narrative or not, the album is proof that his swelling romanticism is turning into his best power. “I’ve made up my thoughts I’ll stay my life just for the sake of music, and I made a decision that I’ll quit every little thing for music,” Lim has mentioned. That appears like one thing the heart-on-sleeve Tchaikovsky would possibly say himself.
The month of February depicts an effervescent carnival, whereas March, titled “Music of the Lark” by Tchaikovsky’s writer, is lyrically wealthy. However in Lim’s eyes, it is fraught with tears, tragedy and the unexplained loss of a kid. Regardless of. Right here we discover one in all Lim’s most interesting performances, sounding ethereal, off-the-cuff, as if improvised, virtually like jazz.
Tchaikovsky’s Seasons incorporates one thing of a success single. It is the month of June (“Barcarolle”), one of many composer’s most wistful and delightful melodies, propelled by a gently swaying beat. And here’s a second to get molecular — to listen to the Yunchan Lim distinction — by evaluating the opening phrase of “June.” In his completely high-quality 2014 recording, pianist Pavel Kolesnikov appears to measure every notice with a ruler to verify they’re equidistant. However Lim opts for a nuanced rhythmic push and pull, and delicate dynamic management which presents an additional emotional tug.
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Lim is just 21 now, however he performs like an outdated soul. Within the month of October, one other spotlight of the album, his astounding, featherlight contact intertwines a pair of heartbreaking melodies, one seemingly calling out from a distance. It is a probing, intense, introspective account, not in contrast to the efficiency Lim gave final yr earlier than a surprised viewers at NPR’s Tiny Desk. The pianist compares the darkly lit music to J.S. Bach‘s Goldberg Variation No. 25, usually nicknamed the “Black Pearl” for its crepuscular vibe.
The Seasons concludes at Christmastime. Lim’s protagonist is, as ordinary, full of remorse, however you would not have the ability to inform by Tchaikovsky’s jaunty waltz, which Lim dares to render simply barely off kilter at one level.
Ultimately, Lim’s imposed storyline won’t add up. However does it matter? The poetry of his performances has reworked these peculiar items into one thing extraordinary. The album proves that Lim’s delicate facet is likely to be his most audacious — and has compelled me to alter my thoughts about Tchaikovsky’s Seasons.
