Who or what inspired you to take up the piano and pursue a career in music?

Nobody has forced me or suggested me to become a musician. My parents had many recordings as they were classical music lover. So I often listened to classical music since when I was a child and I liked it very much. That’s how I started to become close to and to love classical music.

Who or what have been the greatest influences on your musical life and career?

I would say meeting with many great musicians have been the most important influences on my musical life, people like Myung-Whun Chung, Radu Lupu, Krystian Zimerman, Mikhail Pletnev, Alfred Brendel, Murray Perahia and many others…..I learned a lot even while having a conversation with them.

What have been the greatest challenges of your career so far?

Maybe participating some competitions….. I wanted to play for audiences across the world and I thought winning the competition was the easiest way to reach that goal. And it was true, the Chopin Competition gave me a lot of opportunities, but I’m still against competitions. Many great musicians like Arcadi Volodos or Piotr Anderszewski didn’t win any competitions.  The competition kills the musical idea, imagination and freedom. I felt so free after I won the Chopin competition because I realized that I don’t have to do this kind of thing anymore.

Which performances/recordings are you most proud of?

Brahms Quartet in g minor from the Rubinstein competition in 2014. It was the only performance which I enjoyed during that competition.

Which particular works do you think you play best?

I have no idea…

How do you make your repertoire choices from season to season?

These days I simply play the pieces that I want to play. A few years ago, I wanted to show or express many sides of my musicality. But not anymore. I always feel comfortable when I play the music I love.

Do you have a favourite concert venue to perform in and why?

So many places where they have a good piano, good acoustic and good audience. Like Carnegie hall in New York, the Concertgebouw in Amsterdam, Paris and Berlin’s Philharmonie, KKL in Luzern, Elbphilharmonie in Hamburg, Suntory hall in Tokyo…..

Who are your favourite musicians?

Radu Lupu, Krystian Zimerman, Mikhail Pletnev, Alfred Cortot, Edwin Fischer, Arcadi Volodos, Grigory Sokolov, Carlos Kleiber, Myung Whun Chung any many others

What is your most memorable concert experience?

My debut recital in Korea in 2005 when I was 11. After the performance, I realized that I really loved sharing my music with the audience.

As a musician, what is your definition of success?

Actually I still don’t know what being successful as a musician is and I don’t want to think about it. My goal is play better than yesterday and to be satisfied with my performance more often. I’m rarely happy with my performance…

What advice would you give to young or aspiring musicians?

Don’t expect the compensation after you decide to become a pianist or musician

What is your idea of perfect happiness?

I love to be in a place where there no noise. I love silence. And having good food and drink with my family or friends.

 

Seong-Jin Cho’s new recording of Mozart Piano Concerto No. 20 in D Minor, K. 466, Piano Sonatas K. 281, k.332 (Deutsche Grammophon, CD 0289 483 5522 8) is available now
Seong-Jin Cho was brought to the world’s attention in 2015 when he won the First Prize at the Chopin International Competition in Warsaw. This same competition launched the careers of world-class artists such as ‎Martha Argerich, ‎Maurizio Pollini, or ‎Krystian Zimerman.

In January 2016, Seong-Jin signed an exclusive contract with Deutsche Grammophon. The first recording was released in November 2016 featuring Chopin’s First Concerto with the London Symphony Orchestra and Gianandrea Noseda and the Four Ballades. A solo Debussy recording was then released in November 2017. Both albums won impressive critical acclaim worldwide. In 2018 he will record a Mozart program with sonatas and the D minor concerto with the Chamber Orchestra of Europe and Yannick-Nézet-Seguin.

An active recitalist, he performs in many of the world’s most prestigious concert halls. In the 2018/19 season, he will return to the main stage of Carnegie Hall as part of the Keyboard Virtuoso series where he had sold out in 2017. He will also return to Amsterdam’s Concertgebouw in the Master Pianists series and will play recitals at the Berlin Philharmonie Kammermusiksaal (Berliner Philharmonic concert series), Frankfurt’s Alte Oper, Los Angeles’ Walt Disney Hall (Los Angeles Philharmonic recital series), Zurich’s Tonhalle-Maag, Stockholm’s Konserthuset, Munich’s Prinzregententheater, Chicago’s Mandel Hall, Lyon’s Auditorium, La Roque d’Anthéron Festival, Verbier Festival, Gstaad Menuhin Festival, Rheingau Festival among several other venues.

During the next two seasons, he will play with the London Symphony Orchestra and Gianandrea Noseda, at the Barbican Centre, Radio France Philharmonic Orchestra and Myung-Whun Chung at the Paris Philharmonie, Gewandhaus Orchestra with Antonio Pappano, Hong Kong Philharmonic with Jaap van Zweden, Pittsburgh Symphony Orchestra with Manfred Honeck, Finnish Radio Orchestra and Hannu Lintu, Philadelphia Orchestra and Yannick-Nézet-Seguin, Orchestra della Scala with Myung-Whun Chung. He will also tour with the European Union Youth Orchestra and Gianandrea Noseda in venues like Amsterdam’s Concertgebouw, Royal Albert Hall, Berlin Konzerthaus, the London Philharmonic Orchestra and Robin Ticciati in Germany, the WDR Sinfonieorchester and Marek Janowski in Germany and Japan, and with the Santa Cecilia Orchestra and Antonio Pappano in Asia.

He collaborates with conductors at the highest level such as Sir Simon Rattle, Valery Gergiev, Esa-Pekka Salonen, Vladimir Ashkenazy, Yuri Temirkanov, Krzysztof Urbanski, Fabien Gabel, Marek Janowski, Vasily Petrenko, Jakub Hrusa, Leonard Slatkin or Mikhail Pletnev.

In November 2017, Seong-Jin stepped in for Lang Lang with the Berlin Philharmonic Orchestra for concerts in Berlin, Frankfurt, Hong-Kong and Seoul. Other major orchestral appearances include the Royal Concertgebouw Orchestra, Orchestre de Paris, Mariinsky Orchestra, Munich Philharmonic Orchestra, Rundfunk-Sinfonieorchester Berlin, Royal Liverpool Philharmonic Orchestra, NHK Symphony Orchestra, Philharmonia Orchestra, Seoul Philharmonic Orchestra, Czech Philharmonic Orchestra, Budapest Festival Orchestra, Danish National Symphony Orchestra, Russian National Orchestra, Detroit Symphony Orchestra, NDR Elbphilharmonie Orchester, RAI Symphony Orchestra, Hessischer Rundfunk Sinfonieorchester.

Born in 1994 in Seoul, Seong-Jin Cho started learning the piano at 6 and gave his first public recital at age 11. In 2009, he became the youngest-ever winner of Japan’s Hamamatsu International Piano Competition. In 2011, he won Third prize at the Tchaikovsky Competition in Moscow at the age of 17. In 2012, he moved to Paris to study with Michel Béroff at the Paris Conservatoire National Supérieur de Musique where he graduated in 2015. He is now based in Berlin.

seongjin-cho.com

Why play or listen to an early or “period” piano? An instrument which may have significant limitations compared to a precisely made and carefully calibrated modern instrument, and surely “better” and infinitely more sturdy and reliable than an old piano?

Aside from the visual aesthetic of period pianos (many are very attractively designed, with fretwork music desks, elegantly turned legs, and veneered or inlaid cases), playing a period piano reveals how the instrument informed and guided the composer, and how composers such as Beethoven, Schubert or Chopin responded to the piano technology available at the time, a technology which was developing very rapidly.

Dismiss any fanciful notions of “musical time travel” when playing or hearing such instruments: the intention is not to transport us back to a Viennese Schubertiade or a nineteenth-century Parisian salon, because it is impossible to know exactly how these instruments sounded to the composers who wrote for them. But these instruments do offer us a direct connection to the music: we are so used to hearing the great works in the repertoire played on a modern grand piano (usually a Steinway), whose sound is far more homogenised, brighter and even across the entire register, that it is easy to forget that the style and the soundworld of piano pieces written prior to the 1850s are intrinsically linked to the instruments.

Playing these period pianos, many of which are very delicate and require a different touch from the “pounding” that a robust modern piano can take, offers special insights into compositional details such as articulation, tempo, dynamics (the “double escapement” mechanism pioneered by French piano maker Érard, for example, enabled the pianist to achieve very fine pianissimo playing), use of the pedal, touch and key release, shorter sound decay, musical semantics and aesthetics. These instruments may be more softly-spoken than their modern counterparts, instruments designed to project into the largest concert halls, but their voices are richly-hued and characterful with myriad overtones. An 1820s Conrad Graf fortepiano, for example, an instrument with which Schubert would have been very familiar, has a bass sound which recalls bassoons, horns and kettledrums, and a silvery treble allowing for great clarity of articulation and music thought (listen to the final movement of Beethoven’s Moonlight Sonata, played on a fortepiano by Malcolm Bilson, and you’ll hear every single note in that whirlwind of sound). Once the ear has tuned in to the soundworld of these instruments, surprisingly varied colours, textures, articulation and expression are revealed.

The Russian pianist Alexander Melnikov has made several recordings using period instruments, and his latest disc features music by Schubert, Chopin, Liszt and Stravinsky on instruments from the 1820s, 1837 and 1875, and a modern concert Steinway (he has also performed this programme live on similar instruments), offering listeners and audiences the chance to experience four great works of the piano repertoire interpreted in their original instrumental environment. It’s a fascinating exploration of familiar repertoire through the medium of different pianos and how the composers responded to them. Meanwhile, the organisers of the International Chopin Competition have launched a new competition in which participants will perform on period instruments. The inaugural competition takes place in September this year and I hope this competition will offer competitors and audiences something more than a novelty or “living museum recital”, and will cultivate sensitivities and sensibilities in pianists, who can appreciate and respond to what period pianos provide.