September 21 at Lotte Concert Hall... First Solo Recital Since 2001
From Schumann and Brahms to Debussy and Prokofiev
Pianist Cho Seongjin said in a written interview in April 2020, when he released his album "The Wanderer," that during the COVID-19 period when live performances were canceled, he often listened to performances by Emil Gilels and Yefim Bronfman. He particularly mentioned that he greatly enjoyed Bronfman's performance of Beethoven's Piano Concerto No. 4 with the New York Philharmonic in New York in December 2019.
Maestro pianist Yefim Bronfman is celebrating the 50th anniversary of his debut this year. On September 21, he will hold a solo recital at Lotte Concert Hall to commemorate this milestone. Although Bronfman has occasionally performed in Korea with orchestras, such as his 2023 appearance with the Royal Concertgebouw Orchestra playing Liszt's Piano Concerto No. 2, this solo recital marks his first in Korea in 24 years since 2001. Despite consistently ranking among the world's busiest performers according to the classical music website Bachtrack, Bronfman's solo recitals in Korea have been exceptionally rare.
"Korean Audiences Are Focused and Passionate"
In a written interview with Asia Economy ahead of his first solo recital in Korea in 24 years, Bronfman said he feels "truly moved." He remarked, "I vividly remember my last solo recital," and added, "I feel that Korea's passion for music has only deepened over the years."
Bronfman said, "Although it has been a long time, it feels like meeting an old friend with whom you instantly reconnect." He described Korean audiences as "focused and passionate." He also shared his thoughts on Korean performers, stating, "They possess both outstanding technique and musical sensitivity," and "I am deeply impressed every time I perform in Korea." He added, "Among Korean musicians, I see a rare seriousness toward art, profound respect, and an openness to emotion."
In the first part of the recital, Bronfman will perform Schumann's "Arabesque" and Brahms's "Piano Sonata No. 3." In the second part, he will present Debussy's "Images, Book II" and Prokofiev's "Piano Sonata No. 7."
The special relationship between Schumann and Brahms is well known. Schumann, who was 23 years older than Brahms, introduced Brahms in a prominent music journal, providing him with the opportunity to become a great musician. Bronfman explained, "The music of Schumann and Brahms is different, but at the same time, deeply connected."
Regarding the second part of the program, Bronfman said, "It is fascinating to see how the voice of modernity, which began with composers like Debussy, developed and influenced composers such as Prokofiev."
"You May Feel an 'Acoustic Shockwave' from Debussy to Prokofiev"
The final piece, Prokofiev's Piano Sonata No. 7, is the most intense and famous among his three "war sonatas" (Nos. 6-8). Completed in 1942 during the height of World War II, it embodies the dark and violent atmosphere of war, as well as the powerful will to struggle that emerges within it. This will create a stark contrast to the delicate and mysterious mood of Debussy's "Images, Book II," which will be performed immediately beforehand.
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Bronfman commented, "Debussy's music is like a world of delicately shifting light, while Prokofiev's Sonata No. 7 carries the explosive intensity of wartime." He added, "When Prokofiev follows Debussy in the program, it may feel like an acoustic shockwave."
Bronfman was born in 1958 in Tashkent, former Soviet Union, but became a naturalized American citizen in 1989 and is an Israeli-American pianist. He began playing piano at the age of seven and made his international debut in 1975, performing with the Montreal Symphony Orchestra under the baton of Zubin Mehta.
Bronfman said, "I have played piano since I was a child, so it is hard to imagine life without it." He shared that music has always lifted him through difficult times in life, saying, "Whenever I return to the piano and the works I love, I find new strength."
Bronfman emphasized that the most important philosophy for him as a pianist is "honesty to the score, respect for the composer, and the constant exploration of deeper meaning within the music." He added, "I want to continue learning and deepening my understanding of music, so that I can sincerely share the truth of music with my audience."
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