Farewell & Goldberg 2023
I chose to give my farewell concert at Seoul National University under the title “Ligeti’s Studio,” in honor of György Ligeti’s 100th anniversary. The program featured works by Unsuk Chin, Ligeti’s most significant pupil; Ligeti himself; and Schubert, whom Ligeti admired.
It was a deeply personal evening, performed in collaboration with my students, and presented as part of the SNU Ensemble Academy—the contemporary performance project I founded and nurtured as its director for seven unforgettable years.
“Ligeti’s Studio” took place on May 31st at Powerplant SNU, a new space destined to become a cradle for creativity and innovation at Seoul National University. My student Sunwha Lee performed Ligeti’s Horn Trio alongside Seoul Philharmonic players Sergei Lee (horn) and Haesung Choi (violin). I performed two of Unsuk Chin’s Etudes and Schubert’s final piano sonata, a profoundly meaningful work—for both Ligeti and for me. Another proud moment was seeing my student, Dr. Jung-Eun Yoon, give an insightful talk on Ligeti and conclude the evening with a beautiful performance of his Etude Arc-en-ciel—like a quiet “promise” for an unknown future.
I am endlessly grateful to all my students and colleagues at SNU who have supported and shaped me, both artistically and personally. You will always remain at the heart of my journey!
“Aller Anfang ist heiter” (Goethe)
Making new friends and meeting talented students from everywhere – at the Rebecca Penneys Piano Festival in Tampa, Florida, the Chicago International Music Festival, and the Artcial International Piano Festival and Competition (July-August)
Later in the year, I was honored to receive two special invitations: one from the Seoul Arts Center for its 30th anniversary concert (December 27th), and the other from Peabody for its new concert series at the Johns Hopkins Bloomberg Center in Washington, D.C. (December 13th). I chose J.S. Bach’s timeless Goldberg Variations for both recitals.
On this occasion, I was interviewed by the Korean monthly magazine <Music Journal> and wrote a program note for Bloomberg series sharing my reflection on this master piece and my musical journey.
This monumental variation set by J. S. Bach exhibits excellence in every aspect. Not only does it demonstrate exceptional composition skills in terms of harmony, motive, compact and balanced rhythm, but it also follows a specific structure with three variations forming a unified whole, repeated ten times. In a symbolic sense, the number three represents the trinity, a source of perfection and creativity. The number ten signifies the completion of a cycle. For J.S. Bach, this cannot happen coincidentally. Nonetheless, it is not without humor!
Although the authenticity of the well-known story involving Count Kaiserling and the cembalist Gottlieb Goldberg is unclear, one undeniable fact remains: this music uplifts the spirit. It seems almost fateful that I chose to perform this piece for this particular concert. Reflecting on my past experiences, I realized that I often played the “Goldberg” before or after significant milestones in my life. The music of Bach has always been an irreplaceable resource for my soul, providing alignment whenever I needed it.
I feel uplifted to present this rare musical collision of devotion and meditation during this special time of year, marking both JHU’s occasion and my own.
hyc
