Pianist Son Yeol-eums Coming of Age
This is the sixth in a series of interviews with the next-generation of classical musicians.― Ed.
By Lee Hyo-won
Staff Reporter
After making the rounds of all the big competitions, pianist Son Yeol-eum is ready to begin the next chapter in her life as a full fledged, independent artist.
``I suppose you could call this standing on my own two feet,'' said Son, smiling, in a recent Korea Times interview in Seoul. Sporting jeans and a sweatshirt, sans the glamorous evening dress we often see her in, she looked like any other 21-year-old.
She was in town to appear as soloist for the New York Philharmonic's historic tour in the two Koreas at the end of February. It was her second time appearing with maestro Lorin Maazel onstage.
``It was with the New York Philharmonic, my first big solo (in 2004). It was for a great cause, so it was wondeful,'' she said.
After touching the piano keys at the age of three, she was studying with Korea's premier pianist and professor Kim Dae-jin by 12 and entered early the Korean National University of Arts at only 16.
In 2002, Son became the youngest ever winner of the prestigious Viotti Competition, and the first recipient of the Kumho Musician of the Year Award in 2004. Her concerts are always packed with eager young music students.
In late 2006, she left to study at the University of Music and Drama Hannover (Hochschule fur Musik und Theater Hannover) in Germany.
``It was a time I really needed. I was always busy with competitions. It had its up sides but it was enervating. Because it's about presenting and yourself to others, I felt drained inside. I got to recharge my energy and study in a different way, and also look back at what I've done so far,'' she said.
``I think I did three, four years worth of studies in just over a year. I worked on such a hectic schedule in Korea, and when I went there I realized it doesn't have to be that way,'' she said.
The experience was a real treat, as she finally got to explore repertoires outside of the concours standards. ``I love getting to play what I want,'' she said, naming Schubert, Schumann and Mozart as among her favorites.
``My (performance) efficiency really varies depending on whether I like the music or not. Beethoven was a big challenge for me. I always thought I wasn't suited for Beethoven, and my teachers (in Korea) agreed. But I wasn't going to get anywhere with that mentality,'' she said. Last December, she showcased Beethoven's piano sonatas in Seoul.
When asked what was most important in her musical training, she said it was ``deep, utter respect for music, and putting it above everything else.''
``Music for me is something I cannot live without, but it's also something so essential for humanity and I love being able to be a part of it. I love being an artist. I can explore myself but also give to others. Classical music is also a valuable heritage and it's worthwhile being to be able to deliver it and preserve it.
``Some question why you play this old music. But I disagree. It survived the ages because it is precious. Classical music may be old, but it also entails being universally loved. It plays a different role from pop music or other genres. I'm not looking down on pop music, which I enjoy very much. Classics and pop serve different purposes and both need to exist,'' she said.
What else does she do besides music? She said she likes to indulge in the arts and literature, from the paintings of Goya and Manet to essays by Kafka and Sartre. But she's also a diehard fan of basketball, and always catches the playing season for her hometown team in Wonju, Kangwon Province.
But being offstage for a prolonged period of time leaves her in an ``existential'' crisis. ``I question the reason that I live,'' she said, half jokingly.
Son is like those artists who seemed to have been born onstage. ``I love being onstage. Performing is a form of communication,'' she said. That's what she hated most about recording her album with Universal Music (Chopin Etudes Op. 10 and Op. 25) a few years back.
``Oh my gosh I hate that album. It was so unnatural recording in that quiet studio,'' she said. Although there were reports that she'd be recording another album this year, she said it wasn't true, though there are always possibilities.
When you see this pianist onstage, particularly on a small stage with chamber group Kumho Asiana Soloists, you can practically see flames. Always wearing a visage that seems to be ``tormented'' by the pleasures of music, she is a passionate performer ― like a shade of ``red, a bright primary color'' as she said in her own words. A rising red sun, Son keeps you waiting to see more of that hot talent.
``It's just the beginning,'' she said cheerfully. ``I'm not that competitive, but I don't want to lag behind other artists in terms of repertoire.''
Son will be back in Korea this month. She will give a recital at Goyang Aram Nuri Arts Complex in northern Gyeonggi Province, 8 p.m., April 18. The program includes Schubert's Impromptus, D. 935 and Scriabin's Etudes among other pieces. Tickets cost 10,000-30,000 won. Call 1577-7766.
On the 26th, she will appear in Daejeon Culture & Arts Center. Tickets cost 10,000-20,000 won. Call (042) 610-2222.