There is a reason why Yunchan Lim is currently one of the hottest young pianists on the classical scene and tonight at the Royal Albert Hall he has once again proven with an incredible performance of Rachmaninov’s 4th Concerto why he deserves such a stellar reputation.
The energetic Kazuki Yamada and the City of Birmingham Symphony Orchestra warmed us up with groovy performance of John Adams’ The Chairman Dances, subtitled Foxtrot for Orchestra, a piece I have not heard before but was instantly mesmerized by its kaleidoscopically shifting rhythmic patterns, made all the more clear and exciting by the confident direction of Kazuki Yamada, whose enthusiasm instantly draws his audience into the performance.
From the very opening ascending chords Yunchan Lim showed he could lead the entire CBSO in filling the titanic Royal Albert Hall with his unique musical vision of Rachmaninov’s Fourth Concerto, a piece which, after witnessing tonight’s spectacular performance, I deem deserving of more attention from musical plebeians like myself.
But what allowed Yunchan to bring everyone along with him in his vision wasn’t his musical authority, but his total, unrequited and unrestrained commitment to the music.
So much so that he continued unfazed and almost seemingly unbothered as the fire alarm went off almost two-thirds into the first movement; not a single dropped note even as the blaring alarm cut through the orchestra constantly. And once everything was settled (everyone had to sit or stand there awkwardly as they waited it out after the first movement) he launched straight into the second movement as if nothing had happened.
Indeed, when Yunchan plays we are immediately sucked into his musical world, where he makes his own rules. It isn’t that he doesn’t respect the composer’s intentions; it’s that he knows the music so well he can inject it with his own artistic vision, and he does so with utmost courage and conviction that one simply has to marvel at the genius of this 21-year-old (21 years old!).
His incredible sensitivity combined with an unbelievable control of the piano revealed to me wonderfully nuanced and shifting colours which lie dormant in Rachmaninov’s writing. Like a puppet master, he is able to pull at any thread in the music, either to bring a melodic line forward hidden in the bass or, with a slight twitch, reveal to us a hitherto familiar theme in a completely different light; all at his spontaneous bidding. One doesn’t know what he will do next, but one puts complete faith in him to reveal new realms in music. It was a volatile performance, always dancing on the edge, yet one feels assured when Yunchan Lim is at the helm.
Perhaps most importantly, one can see how much fun he is having onstage, especially in the finale, where the punchy rhythm drives the music to a frenzy and jubilant ending. Yunchan was almost headbanging like a groupie at a rock concert. There is something infectious about watching someone get so worked up and absorbed in playing music; I felt my heart racing too. I guess that’s why rock concerts sell tickets. Yunchan Lim is someone who feels absolutely free to do what he wants onstage, and his impeccable technique allows his passionate, Romantic sprit to soar to great heights in the heat of live performance. Who knows where his career wiill take him? His total commitment to music allows him to turn anything he touches into his own. Undisputedly Yunchan’s.
Watching Yunchan live is an experience that leaves one extremely satisfied, for the real creative spirit is generous, and those who were there to witness it will take a part of it and carry it with them.
For encore, he offered an indulgent and sparkling performance of Korngold’s “Schonste Nacht” (I’ve not heard it before but it’s really Hollywood). We almost got him to give a second encore.
Article featured photo credits to The Guardian.
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