The New York Times: Review: Yunchan Lim, Teenage Piano Star, Arrives in New York

The New York Times
By Zachary Woolfe

The 19-year-old musician made his New York Philharmonic debut with a powerful yet poetic performance of Rachmaninoff’s Third Concerto.

“He plays like a dream,” we say about musicians we like, meaning simply that they’re very good.

But when I say that Yunchan Lim, the 19-year-old pianist who made a galvanizing debut with the New York Philharmonic at David Geffen Hall on Wednesday, played like a dream, I mean something more literal.

I mean that there was, in his performance of Rachmaninoff’s Piano Concerto No. 3, the juxtaposition of precise clarity and expansive reverie; the vivid scenes and bursts of wit; the sense of contrasting yet organically developing moods; the endless and persuasive bendings of time — the qualities that tend to characterize nighttime wanderings of the mind.

This dreamy concert was among Lim’s first major professional performances outside his native South Korea, though he is already world-famous for this concerto. His blazing account of it secured his victory last June as the Van Cliburn International Piano Competition’s youngest-ever winner, and the video of that appearance has been viewed millions of times on YouTube.

Read more here.

Photo Credit: Chris Lee

The Economist: The wonder of Lim Yun-chan’s performance of “Rach 3”

The Economist

The 18-year-old pianist’s version of a famously difficult piece has wowed music fans
Still standing at her podium, the distinguished conductor Marin Alsop wiped away a tear. She says she cannot remember the last time she cried onstage, but she was far from alone in feeling moved by the artistry of Lim Yun-chan. Ms Alsop had just conducted the 18-year-old South Korean pianist in Rachmaninoff’s “Piano Concerto No. 3” in Fort Worth, Texas—a performance that last month helped make him the youngest-ever winner of the prestigious Van Cliburn International Piano Competition. A video of his mesmerising interpretation of “Rach 3”, as the piece is known by pianophiles, has been viewed more than 5m times on YouTube.

Read more here.

Associated Press: Pianist, 18, from South Korea wins Van Cliburn competition

Associated Press

An 18-year-old from South Korea has won the 16th Van Cliburn International Piano Competition, one of the top showcases for the world’s best pianists.

The competition held in Fort Worth, Texas, ended Saturday night with Yunchan Lim becoming the competition’s youngest winner of the gold medal. His winnings include a cash award of $100,000 and three years of career management.

The silver medalist was Anna Geniushene, a 31-year-old from Russia, and the bronze medalist is Dmytro Choni, a 28-year-old from Ukraine.

Lim told the Fort Worth Star-Telegram that he’ll discuss with his teacher what the next move for his career should be.

“I am still a student and I feel like I have to learn a lot still,” Lim said. “This is a great competition and I feel the burden of receiving this great honor and award so I will just push myself to live up to the honor I received today.”

Read more here.

The New York Times: At Cliburn Competition, Pianists From South Korea, Russia and Ukraine Triumph

The New York Times
By Javier C. Hernández

The war in Ukraine loomed over the prestigious contest in Texas, named for the pianist Van Cliburn, who won a victory in Moscow at the height of the Cold War.

For 17 days, the young artists competed in what some have called the Olympics of piano-playing: the Van Cliburn International Piano Competition in Texas, one of classical music’s most prestigious contests.

On Saturday, the results were in: Pianists from South Korea, Russia and Ukraine prevailed in this year’s contest.

Among the winners are Yunchan Lim, 18, from Siheung, South Korea, who became the youngest gold medalist in the Cliburn’s history, winning a cash award of $100,000; Anna Geniushene, 31, who was born in Moscow, taking the silver medal (and $50,000); and Dmytro Choni, 28, of Kyiv, winning the bronze medal ($25,000).

“I was so tired,” Lim, who played concertos by Beethoven and Rachmaninoff in the final round, said in a telephone interview. “I practiced until 4 a.m. every day.”

“Texas audiences are the most passionate in the world,” he added.

Read more here.

The New York Times: Russian and Ukrainian Pianists Meet in Texas at Cliburn Competition

The New York Times
By Javier C. Hernández

The war in Ukraine looms over the prestigious contest named for the pianist Van Cliburn, who was a symbol for art transcending global politics.

FORT WORTH, Texas — On a sultry recent morning, 30 young pianists from around the world gathered in an auditorium at Texas Christian University here for the start of the Van Cliburn International Piano Competition, one of the most prestigious contests in classical music.

The mood was celebratory. But politics also loomed. The Cliburn, defying pressure to ban Russian competitors after the invasion of Ukraine, had invited six Russians to take part, as well as two pianists from Belarus, which has supported the Russian invasion. A Ukrainian also made the cut.

As they signed posters outside the auditorium and were fitted for cowboy boots, a Cliburn tradition, several competitors from those countries said that they found it difficult to think beyond the war.

Read more here.

Photo: Jake Dockins for The New York Times

International Piano: Yekwon Sunwoo at Portland Piano International

International Piano
James Bash

Sunwoo showed no signs of jetlag in his performance at Lincoln Concert Hall. His immaculate playing of Schubert’s Sonata in C minor D958 was filled with subtle nuances such as a slightly slow tempo for the recapitulation of a theme, which made it linger seductively. In the final Allegro he delivered a lightly rocking rhythm that became more demonstrative yet never overstated. The many hand-crossings were incisively executed, and the overall effect of the piece was emotionally satisfying.

Read the full review in International Piano‘s January/February 2018 issue, available digitally here.

BBC Music Magazine: Yekwon Sunwoo's Cliburn Gold 2017

BBC Music Magazine
Rebecca Franks

Cliburn Gold 2017 (4-star rating)

Superbly assured pianism from the recent winner of the Van Cliburn competition, sensitive in Haydn and full-blown in Ravel’s La Valse.

Miroirs CA: Interview with Yekwon Sunwoo

Miroirs CA

Soon after 28-year-old Yekwon Sunwoo won the 15th Van Cliburn International Piano Competition, Decca Gold released a recording of his performances at the competition called Cliburn Gold, which became number one on Billboard’s Traditional Classical Album charts.

Those who live streamed or attended this year’s Cliburn Competition were bowled over by Yekwon Sunwoo’s dynamic playing, as were the jury members who awarded him a gold medal with its built-in perks that include three years of concert tours in the US and at international venues and fashion threads - concert attire supplied by Neiman Marcus which is reason enough to practice hours a day for a chance to compete!

Over the next few seasons and beyond, Sunwoo will appear with high-profile groups such as Royal Scottish National Orchestra, Elbphilharmonie, National Orchestra of Cuba, and perform at Aspen Music Festival, Istanbul Music Festival, Klavier-Festival Ruhr and the Gewandhaus in Leipzig.

Sunwoo’s playing was center stage even before his participation in The Cliburn Competition as evidenced by his winning the 2015 International German Piano Award, 2014 Vendome Prize at Verbier Festival and 2012 William Kapell International Piano Competition. Already a seasoned performer, he has given recitals in South Korea, Europe, Costa Rica and appeared with major orchestras including the Houston Symphony, Baltimore Symphony, National Orchestra of Belgium.

He also concentrates on chamber music in collaboration with such artists as members of the Brentano and Jerusalem Strings Quartets, Ida Kafavian, Peter Wiley and released recordings with violinist Benjamin Beilman on the Warner Classics and Analekta labels.

He began piano studies in his native South Korea at age 8 and then relocated to the US in 2005 where he received a bachelor’s degree at The Curtis Institute of Music with Seymour Lipkin, a master’s degree at The Juilliard School with Robert McDonald and an artist diploma at the Mannes School of Music with Richard Goode. He currently studies with Bernd Goetzke in Hannover, Germany.

Yekwon Sunwoo talks about his career with Editor Leonne Lewis.

You studied in South Korea and at conservatories in the US. Have mentors of these schools influenced your approach to piano playing?

I feel extremely fortunate to have such wonderful teachers and they all share the same trait of being genuine and sincere musicians and warmhearted human beings. I am deeply saddened by Seymour Lipkin’s passing two years ago, but have fond memories of working with him at Curtis for six years beginning in 2005, when I was 16 years old. During the time I worked with him, I became more exposed to diverse music and he helped me open up my heart and play as if actually singing with my own voice.

After that, I went to Juilliard to work with Robert McDonald for two years. He has incredibly sensitive ears, which helped me become more attentive in listening to my own sound and the phrasing coming out as intended. Then, I went to study with Richard Goode at Mannes School of Music for two years. From time to time he would be away giving concerts, but whenever he was in town I would come to his house and play for him – and sometimes this went on for two or three hours.

He demonstrated a lot and it was sheer beauty to stand right next to him and hear him play, and I would feel as if I was reborn after each time. His whole life is faithfully dedicated to discovering the true intentions of each composer and I learned so much from him, like not taking every phrase each composer writes for granted.

In the Fall of 2016 I moved to Munich and currently study with Bernd Goetzke in Hannover. I’ve been working with him for just a year now but he has helped me to have more conviction in my music making and especially in shaping each phrase according to the requirements of the composer and understanding the whole structure in a more constructive way. I am forever grateful for guidance from all these teachers. They all made me love music even more deeply so that I can really bring out all emotions through piano playing.

You have won many international piano competitions. Does your approach change when playing for competitions or performing live concerts?

I believe strongly in not having a different thought process when performing in concerts or competitions. You are there to play your heart out and to share all kinds of emotions that are going through at every second of music making and hopefully convey them to audience members. The only difference might be in these two elements. First, you have to be even more focused and mentally strong when participating in a competition because you are under high pressure and there is the cruel fact that the announcement awaits after each round. Secondly, you are handling a huge amount of repertoire, so you need to understand your physical stamina and how to balance it all at once.

However, it is all about music making in the end and conveying your own interpretation with conviction. Seeking the composer’s intentions and putting all your endeavors into making the music come alive should be the main concern at all times.

Since winning The Cliburn Competition, what are some of your career and artistic goals?

Since I first started playing the piano when I was 8-years-old my ultimate dream has always been to become a concert pianist, travel all around the world and share all these feelings through music. Winning the 2017 Van Cliburn Competition has opened up a new chapter for me and this definitely helps my dream continue. I have a personal affinity towards German and Russian repertoire so I would like to focus more on this repertoire for now. Having performed works such as Mario Davidovsky’s Synchronisms No. 6 and Thomas Ades Traced Overhead, I would also like to explore more contemporary works that are not yet often played. After winning the Van Cliburn Competition, I know that the exciting musical journey will continue.

Fort Worth Business Press: Beyond the keyboard - Cliburn career management a key for winners

Fort Worth Business Press
Rick Mauch

June 3, 2017. Daniel Hsu of the United States performs with conductor Nicholas McGegan and the Fort Worth Symphony Orchestra Saturday during his concerto in the Semifinal round at The Fifteenth Van Cliburn International Piano Competition held at Bass Performance Hall in Fort Worth, Texas. (Photo Ralph Lauer)

There's a lot more to being a Cliburn winner than the prestige that goes with the title. As in other professions, much goes on behind the scenes to ensure a long and successful career as a pianist.

Beyond the prestige, cash prizes and hours of rehearsal, the medalists of the Van Cliburn International Piano Competition get the opportunity to launch careers as concert pianists through concert bookings, recordings and significant media exposure via the career management prize.

This year’s top three recipients of the prize will be in town this week for Cliburn Winners Week, which began Nov. 5. The three, who are here for mentoring workshops with industry professionals, are gold medalist Yekwon Sunwoo, silver medalist Kenny Broberg and bronze medalist Daniel Hsu.

"The 1997 Cliburn opened the door to a performing career that I wouldn’t have had otherwise," said Jon Nakamatsu, 1997 gold medalist. "My first appearance as the winner was three days after the award, and the touring has really never stopped. None of this would have been possible without the help and support of the Cliburn."

The Cliburn works closely with each medalist to give personalized mentoring and advice as he or she adjusts to a busy concert schedule and life as a public figure and begins to form long-term plans. It's all part of identifying extraordinary pianists with a clear artistic vision and giving them the platform to share their gifts, according to the organization.

"Since its beginning in 1962, the Cliburn has made concert bookings for its new winners a priority. Over the past 55 years, that program has grown into a comprehensive management program," said Jacques Marquis, Cliburn president and CEO.

Marquis noted that the career management prize includes financial and tax planning help, administrative and tour management support, media and public relations services, and other details that go beyond the 88 keys of the piano.

"Other competitions do provide concert tours or some of these services, but the Cliburn is known for its concentration on this kind of support and for opening the U.S. market for these artists in particular," he said.

The career management prize, including engagement fees the medalists will earn, is valued at over $1.5 million and includes:

*Over 200 concerts booked over three years across the United States (recital, chamber and orchestra);

*Partnership with London-based Keynote Artists Management for international management and concert bookings in Europe and Asia for the gold medalist;

*Internationally released recordings on Decca Gold;

*Complete public and media relations services: New York-based 8VA Music Consultancy for development of online presence (websites and social media) and assistance with media coaching, image consulting and publicity planning;

*International Advisory Council to provide a network of industry professionals who will be actively involved in career development; and

*Administrative services, including travel itineraries.

"First, our mission is to spread excellent classical music to as many people as possible and to discover and launch the careers of exceptional pianists," Marquis said. "We do that through the unprecedented exposure we offer them."

The 2017 competition webcast drew more than 5 million viewers in 170 countries over three weeks, Marquis said.

"But that is just one of the tools we use to achieve what all artists need to start a career. They need to play concerts," he said. "Each winner is a representative of the Cliburn. They are ambassadors performing for patrons all over the world. The more they get to play, and the more supported they are during that pivotal time in their careers, the better for them and the better for the Cliburn.

"Secondly, our career management program is key to attracting the best young pianists to come to the competition every four years. A competition is only as good as the artists taking part in it. The best of the best want to come to the Cliburn because they want the engagements. They want careers as concert artists."

The Cliburn provides individualized care for the three medalists during a three-year period. The idea is to help them develop artistically and to increase their awareness of what they want from their careers and what they need to do to get there.

Marquis said when most competitors come to the Cliburn, they are already considered professionals in that their primary source of income is playing the piano. Winning the Cliburn, though, takes their career to the next level.

"They have to be prepared to go out on the road directly after winning," he said. "They have to have already developed their repertoire extensively and also be mentally and emotionally ready for such a career."

Olga Kern, 2001 gold medalist, said that when she won the Cliburn competition, it was a dream come true. Once it became a reality, however, life got a lot busier, and she is still thankful for the career management prize.

"I got the life of a busy artist, with lots of concerts and opportunities to meet great musicians and collaborate with world-famous outstanding conductors," she said.

Marquis said the Cliburn also wants to instill a fundamental understanding of the more practical aspects of sustaining their careers, from self-promotion, which is vital in today’s digital age, to taking care of themselves and their bodies during grueling travel schedules.

"Our goal is to transition our three medalists to professional management firms within three years of winning the Cliburn. We want to jump-start their careers and open doors, but then we need to find the right fit for each of them with a permanent general manager and, in most cases, regional managers” in the United States, Europe, and/or Asia, he said.

"At a little over a year prior to each competition, we begin booking concerts for the winners of that upcoming competition, so it’s important that we have transitioned the previous winners by that time."

The New York Times: Hear the Martha Argerich Recording That Inspired Yekwon Sunwoo

The New York Times
By Joshua Barone

Martha Argerich, one of the greatest pianists in the world, rarely plays in New York. But on Oct. 20, she will return to Carnegie Hall after a decade away to perform Prokofiev’s Piano Concerto No. 3. For her younger fans, this may be the first opportunity to hear her in person.

Being a devotee of the elusive Ms. Argerich, 76, most often means being a follower of her diverse and much-adored catalog of recordings. Her albums, which have been in circulation since the 1960s, have been formative for many musicians who have come after her.

“A young pianist has to know her work,” Vikingur Olafsson, 33, said in an interview. “She has influenced my generation in ways that cannot be overestimated.”

We asked some of the most talented younger pianists (and one harpsichordist) to share and discuss their favorite Argerich recordings. Their answers — and the music — are below.

Yekwon Sunwoo
Ravel: ‘Scarbo’ from ‘Gaspard de la Nuit’

Yekwon Sunwoo, the 28-year-old South Korean pianist who won this year’s Cliburn Competition, loved Ms. Argerich’s recording of “Gaspard de la Nuit,” but then he found a video of her playing the piece.

The first movement, “Ondine,” had a “wonderful sense of singing melody while the waves never stopped with such grace — effortless,” he said. And the finale, “Scarbo,” both “evaporated into the atmosphere” and “sparkled with so many different layers of sounds.”

Mr. Sunwoo looked to Ms. Argerich’s “Scarbo” for inspiration when he learned the piece. “I particularly admired her incredible velocity over the keyboard, but with musical intentions,” he said. “I tried to create more drama and sweeping gestures like she does.”