INTERVIEW Violinist Lee Ji-yoon speaks on what it's like to be concertmaster
Violinist Lee Ji-yoon. Courtesy of WCN
By Anna J. Park
It's been nearly a year since Korean violinist Lee Ji-yoon, 26, has been granted lifetime tenure as the concertmaster at the Staatskapelle Berlin. Founded in 1570, it is one of the leading and oldest orchestras in the world.
Lee is the first Asian concertmaster of the German orchestra.
“I think this is truly the best experience that one can have in his or her twenties. You get to work with great conductors and great instrumentalists in diverse genres of classical music, ranging from Baroque to contemporary. Playing for the orchestra, I learn so much, like new perspectives on music pieces,” Lee said during a recent interview with The Korea Times, when she visited Seoul for a concert with the Incheon Philharmonic Orchestra at Seoul Arts Center last Wednesday.
Lee, the first-prize winner of the 2016 Carl Nielsen Violin, auditioned for the post of concertmaster at the Staatskapelle Berlin in May 2017, and started working in September 2017. It usually takes a two-year trial period before being granted the lifetime tenure, but it took less than a year for Lee to secure her position.
“Fortunately, I was granted the lifetime tenure last May, after some 10 months at the orchestra. The first violin group members discussed it and decided that I didn't need to complete the full trial period,” she said with a smile.
Lee said she thinks the key to the hearts of fellow orchestra members lied in her efforts to make the first moves to get closer to them.
“I felt like it might be too late if I wait for people to approach me first. Being a concertmaster at a young age could be a weakness, but I tried to approach people first with sincerity. When I approached them sincerely, they opened up their hearts, too,” Lee said, adding that she got so much help from her fellow orchestra members.
The role of concertmaster is not only the leader of the first violin section, but also the second-most significant leader in an orchestra, only after the conductor, meaning it could be a challenging job for someone in their mid-20s to lead such a historic orchestra. Lee said she also puts a lot of effort into facilitating effective communication between the conductor and the other orchestra members.
“Being good at playing may be a necessary condition but what is most important as a concertmaster is that you need to be like a diplomat between the conductor and the orchestra members. During rehearsals, as a concertmaster, I need to mediate between them whenever there's difference in musical interpretations. I present orchestra members' opinions to the conductor, representing them. I sometimes suggest points to the conductor that need to be redressed in playing. I think concertmasters are responsible for the ambience of the orchestra's rehearsals and performances. So I always try my best to bridge any gap between them,” Lee explained.
The orchestra has been led by internationally acclaimed maestro Daniel Barenboim since 1992. Lee said working closely with maestro Barenboim is such a privilege for her.
"I have listened to his recordings and watched his videos a lot since I was young. I thought it was a life-time opportunity to learn music from him and play as the concertmaster at the orchestra that he leads. I was so curious about what kind of person the maestro is. So now I am enjoying such rare, priceless experiences,” she said.
Lee explains maestro Barenboim has a special charisma on stage that draws the best out of members.
“For example, Maestro Barenboim memorized every part of every instrument of the Ring Cycle, Wagner's famous opera that runs for some 18 hours. As he knows the piece by heart he directly stares at players who need to play significant parts. Just by doing that, he draws the maximum concentration from members.”
Her performing is not only confined to the role of concertmaster at the orchestra. She tries to keep up her soloist schedules as well. On June 16, she will also be playing as a soloist at an open-air concert, playing Mendelssohn Violin Concerto, under the baton of maestro Daniel Barenboim at the Bebelplatz, a public square and famous tourist destination in a historic district in Berlin.
“The plaza is located right next to our opera house. I am very excited about this special concert,” she said.
While she is busy juggling her job as the concertmaster of a prestigious orchestra and a violin soloist, her fans were happy to see her featured in music documentary film “Imposed Piece,” released earlier this year. (In Korea, the film's title was changed to “Finalist.”)
Directed by Brecht Vanhoenacker, the Belgian film followed the 12 finalists at the 2015 Queen Elisabeth Competition, during which another Korean violinist Lim Ji-young won the first prize. Lee was one of 12 finalists, but she was the focal point of the film's plot.
"Every scene was filmed during the actual competition. I think the film's director wants to emphasize the process and the preparation, rather than the final result. It is the reality that only winners are remembered after the competition; I think the film's message is that everyone is a winner, because they all put out their best. If I won the competition, I don't think the director would have put the focus on me. The film encourages viewers to applaud every participant.”
The young violinist, praised for her energetic yet brilliant interpretations, said she feels blessed for where she is now. Asked about her next objective, she said she'd like to focus on short-term goals, rather than one big one.
"I always try to achieve several small goals at a time, one by one. I don't have a big ambition or greed. My goal in life is to continue to take those small steps,” Lee said.
“I am very grateful that I can play freely and happily; this is the best life for a musician. I hope I can continue to enjoy myself and play music like this in the future.”
Violinist Lee Ji-yoon. Courtesy of WCN