Exploring musical insider's world

By Kwon Ji-youn

“Letters from Hanover” claims to be a compilation of one pianist’s musings told to musical outsiders, but perhaps because the writer is so young, it is more a list of anecdotes she hopes the world will find as engaging and educating as she did.

Pianist Son Yeol-eum said at a press conference Wednesday that her new book is for non-music majors like her sister -- those who are stirred by classical music but do not know it very well.

“I gave the following a lot of thought: What would my sister’s reactions be upon reading this book?” Son said.

But the first few chapters read more like a textbook, filled with Son’s long-winded commentary on perfect and relative pitch, on the pitch standard of 440 Hz and on the difference between rhythm and time (or beat). The writing is not entirely free of what appears to be unintended grandiloquence, some of it is a tad too abstract and the chapters don’t quite flow.

This may be because “Letters from Hanover” is an anthology of the pianist’s columns that were published in a local newspaper.

“Only a few months back, I wasn’t thinking at all about having a book published,” Son said. “I didn’t think I had the right to, but I was surprised to learn I had already written over 50 columns, and these were woven very naturally into a book.”

She added, “I wrote very freely about my thoughts, about traveling to concerts and about what inspires me.”

Writing about music -- or rather, engrossing readers with writing about something as intangible as music -- isn’t easy. With that said, the book does contain a handful of compelling chapters that those who are looking to pursue classical music as a profession -- if not many else -- may find intriguing.

Some chapters are filled with anecdotal snippets about classical big names including the likes of Schumann, Schubert and Shostakovich, and with discussions about her favorite pieces and most memorable performances. One particularly gripping chapter asks “Where are this generation’s Beethovens and Schuberts?” and the following chapter slams the musical community’s obsession with competition and its education system’s rigid reliance on one particular arts university.

“Taking part in competitions has become something of a job for some musicians,” Son writes. “They appear in competition after competition after competition … This is because chances to perform in front of an audience are that rare.”

She continues, “Music is subjective, and so these chances often go to those with connections rather than skill … Of course, without competition, musicians more familiar with how PR works will take over the industry. Either or, competitions are a problem.”

On education, Son writes, “For musicians to receive a proper education, society needs to acknowledge the uniqueness of musical education and for this, systematic innovation is urgent.”

Son’s many references to friends, family and other artists show how heavily the 29-year-old has been influenced by their experiences, thoughts, successes and failures. As she nears the book’s end, she opens up about why she plays the piano, about her hometown and about “not being alone.” These chapters are more personal and therefore more identifiable.

A reshuffle of the chapters may have made “Letters from Hanover” a more captivating read. Getting to know Son Yeol-eum, a 29-year-old young woman, before meeting Son Yeol-eum, the gifted pianist, may have made the first portion of this book more digestible.

Son first drew international attention when she performed with the New York Philharmonic Orchestra helmed by Lorin Maazel in 2004. She has won a number of awards, including a silver medal at the 2011 International Tchaikovsky Competition. Joongang Books. 323 pages. 15,000 won.