Having played in the orchestra for this performance,
I can say that all your observations were spot on. I'm especially pleased someone else noticed those three accented Ds in the third movement.
The orchestra was absolutely exhausted by this point but his leadership invigorated everyone, and more importantly, the orchestra felt we could trust him.
이 연주 오케스트라에 참여한 사람으로서 당신 말 다 매우 정확히 맞말이야. 특히 3악장에서의 그 세 개의 강조된 D음을 누군가 알아차려 줬다는 게 특히 너무 기쁨. 그쯤 오케스트라는 완전 지쳐 있었는데 그의 리더십이 단원 모두에게 활기를 북돋웠고, 더 중요한 건, 오케스트라가 그를 신뢰할 수 있다고 느꼈어.
Many of us have played Rach 3 numerous times, including previously in the competition, and in most cases the orchestra played cautiously,
letting the soloist do their thing somewhat detached from the orchestra.
Not so with Yunchan. In the final statement of the second theme in the finale, the orchestra collectively breathed a sigh of relief as we knew we could play passionately, exuberantly and trust in Yunchan to lead us to the finish. Sadly, at least half of the delightful nuances in that performance were lost in the audio of the livestream.
우리중 많은 단원들이 이 대회를 비롯해 라흐3을 많이 연주해 봤고, 대부분의 경우 오케스트라는 솔로이스트가 오케스트라와 다소 분리되어 자신이 할 것을 하도록(do their thing) 해 주며 조심스레 연주했지. 그런데 윤찬과는 달랐어. 피날레의 두 번째 theme의 마지막 부분에서, 오케스트라는 모두가 안도의 한숨을 내쉬었지
왜냐면 우리는 알았거든. 우리가 열정적으로, 풍부하게 연주할 수 있다는 걸 말야. 그리고 윤찬이 우리를 끝까지 리드해 주리라 믿을 수 있다는 걸 말야. 근데 슬프게도 그 기분 좋은 뉘앙스의 최소 반쯤은 라이브스트리밍 오디오에서 들리지 않았더라.
He was extremely sensitive to the orchestra, but never compromised his musical vision-- a perfectly balanced chamber musician.
Every other musician I spoke to felt that we had just been part of history.
윤찬은 오케스트라 소리에 극도로 예민하게 반응하며 연주했지만, 그렇다고 해서 절대 그의 음악적 비전을 타협하진 않았어. 완벽한 발란스를 갖춘 협연자인 거지. 내가 얘기나눠본 모든 오케 단원들이 우리가 방금 역사의 한 부분에 있었다는 걸 느꼈어.
Despite being exhausted after two weeks of endless piano concerto repertoire, there was an incredible energy in the air that I have never felt before in a performance.
Several of my colleagues and I immediately listened back to the livestream upon returning home,
just to relive that special moment.
2주간 끊임없이 이어진 피아노협주곡 레퍼투아로 완전 지쳐있었음에도 불구하고, (윤찬과의 라흐3 공연 때는) 내가 이전에 어떤 공연에서도 느껴보지 못한 엄청난 에너지의 기운이 감돌았어. 내 동료들 몇 명과 나는 집에 돌아가자마자 라이브스트림으로 그 공연을 다시 들었지. 바로 그 특별했던 순간을 다시 느끼고(relive) 싶어서 말야.
I'm glad Bavouzet used the word "nobility"; despite all the fireworks and rocket-fueled tempi, the orchestra knew that it wasn't about him, or about any of us--
it was a dedication to the music. Historic.
바부제가 "고귀함(nobility)"이라는 단어를 쓴 게 좋더라. 그 모든 불꽃(fireworks)과 로켓을 단 듯한 빠른 템포에도 불구하고, 오케스트라는 알았어. 그것은 그에 관한 것도 아니고, 우리에 관한 것도 아니란 것을. 그것은 음악에 대한 헌정이었어. 역사적이었지.
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.
Some classical musicians and aficionados think artists ought to have more experience of life before tackling works that demand emotional maturity, whether late Beethoven piano sonatas or Rach 3. Daniil Trifonov, a superb Russian pianist, decided not to perform the concerto early in his career because he didn’t feel ready to convey its intensely passionate arc.
But despite his youth Mr Lim “is an old soul”, reckons Ms Alsop, as well as a “phenomenal talent” with “jaw-dropping technique”, which complements “an innate musicality that is hard to fathom”.
He also has a fearsome work ethic: Mr Lim explains that his usual practice routine stretches from around 1pm until the following dawn.
A pianist and conductor as well as a composer, Rachmaninoff wrote the 40-minute concerto in 1909 and gave its premiere during a successful American concert tour in the same year.
He practised on a cardboard keyboard during the long voyage from Russia.
Other pianists of his generation were intimidated by Rach 3, which was mostly ignored until it was championed in the 1930s by the Kyiv-born pianist Vladimir Horowitz (whose recordings of it Mr Lim cites as an inspiration).
Gary Graffman, an American pianist who is now 93, has said he regretted not learning the concerto when he was “still too young to know fear”.
Rach 3’s formidable reputation was reinforced by “Shine”, a film of 1996 about David Helfgott, a troubled Australian pianist played by Geoffrey Rush (who won an Oscar); in the movie, Helfgott collapses from nervous exhaustion at the end of the concerto.
It is a wildly emotional, lyrical piece that reflects the Russian romantic tradition, which Rachmaninoff continued as his peers experimented with avant-garde sounds.
(Stravinsky began the groundbreakingly dissonant “The Rite of Spring” in 1911.)
Some scholars have noted echoes of folk and liturgical music in the melancholic d-minor melody that opens Rach 3 and resurfaces throughout, though the