***Here is the translation (1) of (4)*** The channel's name is Jo Seung Yeon (JSY)'s Exploration Life Q (JSY): Hello, nice to see you. A (SJ): Hello. Q: In college, I was really into classical music, so the job I most admired was classical concert pianists. So now, sitting across from a world-class pianist, I think I've succeeded in life, yay! I heard you were traveling from Munich, yesterday. A: Yes, I had a concert in Munich the day before yesterday, so I arrived here yesterday. Q: Considering that there is a famous hall in Korea, Munich, Berlin, and New York (Carnegie Hall), classical musicians, especially solo artists, probably fly a lot. A: It's something that I take for life. I weigh my options about what to do at the airport to make the most of my time because there's so much waiting time throughout the year. I still haven't been able to find my way home yet. Q: How many times do you fly during the year? A: I haven't counted, but probably about 100 times. I don't know, I haven't counted. Q: What I am the most curious about is how you find time to practice your repertoire for next season when you fly so much. A: It's different for each repertoire, but I keep notes. I have notes like, "Oh, this piece will take about 100 hours." I do practice at home, but I also practice in the waiting room before a performance (aside from the program of the day), or a day before. Q: So, to become a concert pianist, you need to be skilled enough so that you can manage to practice between concert rehearsals while preparing next season's repertoires. [SJ lightly laughs] A: I suppose you have to plan it well. I usually start practicing new repertoires about four months in advance of presenting on stage. I will say it's important to plan well when I can take a break and when I can practice. Q: According to his biography, which I read a while ago, Glenn Gould would put his hands in a warm basin before performing because his hands would get cold. Do you have any methods for reducing tension while in the waiting room? A: My hands and feet also become cold when I'm nervous, so I always carry around a hot pack. I use it almost every time I perform. On the other hand, my palms get clammy a lot, so I wash my hands before a performance. I don't wash them right before though because I'm afraid my hands will get cold. I've tried different ways to relieve tension, but I don't think there's a way. I think the only way is to get used to being nervous. Q: Regardless of the genre, what music do you enjoy listening to the most these days? A: I don't listen to music a lot. I don't like listening to music at home too much or while traveling around. Q: [JSY slightly laughs] If you don't listen to music, what do you do for that time? A: I watch KZbin, Netflix, or something of that nature. Q: Please also watch Exploration Life. A: Yes, this is a very helpful channel. Q: Oh, thank you. What do you enjoy on Netflix? A: I recently watched Culinary Class Wars (it's named differently in Korean as 'The Black and White Chefs'). Q: Ah, even Seong-Jin Cho watches Culinary Class Wars. . . The piano keyboard is also of black and white . . . A: Ah ha! [SJ smiles] Q: In the history of Western classical music, I learned that Bach and Handel were the "Father" and "Mother" of music. I don't know if that is still the case these days. A: That's how it was for me back then too. Q: Then came Classicism: Haydn and Mozart. Then Beethoven and Schubert started to incorporate some Sturm und Drang, and then came Romanticism, and now the Romantics, who freely expressed their emotions, gradually made music more complex in terms of harmony, and finally, when people like Schönberg and Bartok emerged from Vienna, the general public could no longer understand music, so to speak. Well, this is roughly the background story that most people have. But if you look at the story and list the composers we know from regions of German-speaking countries by era, like Vienna, Mannheim, and Leipzig, the majority were German-speaking people like Austrians or Germans. But there are also many famous composers from French-speaking countries. There's Rameau, Debussy, and Ravel. Could you categorize this into tiers, just like the textbook puts the five people into stages? A: To me, French Baroque music plays a critical role, and I think composers like Couperin and Rameau are great composers. In fact, in my opinion, French Classicism is quite weak compared to Germany. Then, when you move on to Impressionism, there are Debussy, Ravel, and Satie. In Romanticism, I think Berlioz is a very important composer. He didn't have a proper music education at first compared to other composers. As a result, I think he was able to compose more imaginative music. As for pieces like the Symphonie Fantastique, although he was nearly from the Chopin era, it is very, very progressive music. Berlioz created such wonderful music that even though he composed it in the 20th century, you wouldn't think it was outdated. In terms of contemporary music, there's Boulez, a conductor and also composer. When I studied in Paris, the emphasis was on contemporary music, chamber music, and analysis like score analysis, and music analysis. so I remember analyzing many pieces by lesser-known composers like Henri Dutilleux. The composer of the piece I world-premiered recently is Thierry Escaich, a Frenchman. Overall, to me, the most important periods are Baroque, Impressionism, and contemporary music. Q: What are the characteristics of French Baroque? A: I haven't quite dealt with it much. Still, if I can say Bach is a little more intellectual, Rameau seems to have a more refined taste. If we just look at the overall atmosphere, French Baroque seems to have a slightly more refined, more elegant feel compared to German music. In the case of Bach, [5:47 SJ plays Bach] this is Bach's music, and Rameau's is this [SJ plays piano]. It may be a little hard to grasp the different atmospheres in this short display (of me playing), still, this isn't just Baroque. Overall, French music tries to express more melodic elements and imagination, and I think it tries to express images through music. Q: This time, you recorded an entire album featuring the composer Ravel as the theme. Some of the melodies by the composer Ravel are familiar to people, but he is not a composer whose music is played that much in Korea. A: Among Ravel's works, the most famous should be Bolero. [6:50 SJ plays the melody] People must have heard this one at least once. Q: Yes, we have all heard of it. There are so many composers. Why did you focus on the composer Ravel this time? A: First of all, next year is the 150th anniversary of Ravel's birth, and I wanted to commemorate it with a Ravel album. I studied abroad in Paris, and at that time, I was exposed to a lot of Debussy and Ravel's music, so they were very familiar composers to me. Ravel was such a perfectionist that he didn't leave behind many works. His entire piano solo composition is about 2 hours and 15 minutes long, less than a tenth of the length of Mozart or Beethoven. This is the first time I've played and recorded all of one composer's piano pieces. Q: Now that you have played all of Ravel's works, what kind of person do you think he was? A: A true perfectionist. He is a composer who in his composition, every note is important and there's not a single note to be discarded. And usually, impressionistic music, especially Ravel's, is divided into early, mid, and late periods. I would say that his early music is much different from his late music. Q: So you're saying that Ravel is one of those artists whose musical style has evolved a lot over the course of his life? A: I think "evolved" is the right word choice. I would say his music "developed" rather than just "changed".

**Here is the translation (2) of (4)** Q: When Korean audiences say they have heard of French musicians from the Impressionist era, they most likely refer to Debussy, Ravel, Gabriel Faure, and those similar to them. However, Impressionism is not a music term, but rather, it comes from art. Why do you think these musicians were called "Impressionists"? What parts of Ravel's music, do you think, are similar to Impressionist paintings? A: Debussy's and Ravel's works, although not all of them, seem to try to express real images with sound. Among Ravel's works, there is a piece called <Miroirs>. Can you guess the title of the first piece as I play? [8:54 playing piano] Q: When I think of the image, it feels like the wind is blowing across a lake and waves are crashing into it. A: Ah... The title of this piece is "Noctuelles (Nocturnal Moths)." Q: Moths?! Ahhhh, like by flapping the wings like that! A: I think he was trying to express something of that nature. The third piece is called "Une Barque Sur L'océan". [SJ demonstrates] It's like waves coming into the night sea for real. Music that stimulates your imagination. And I think water and bell sounds were essential to French composers like Debussy and Ravel. Q: Then, while playing Ravel's works this time, which piece, do you think, best expresses Ravel's musical style or the soul of impressionistic music? A: It's a tough question, and among Ravel's works, the highlight for me is a piece called Gaspard de la nuit. It conjures up images, and it's very poetic, like Ondine (water nymph), Le Gibet (gallow), Scarbo (goblin), something like a nymph. For pianists, it's a greatly challenging piece to play and the composition is excellent, so I think the highlight is Gaspard de la Nuit. The second piece is called Le Gibet. Each person may interpret it and imagine it differently. For me, it's like a person's heartbeat. [10:54 SJ plays La Gibet] It's kind of gloomy. Q: Back then, when people were hanged, they were just left hanging on the street for people to see as they passed by. Even though we've never seen it with our own eyes, to some degree, I can feel what it would have felt like if I had seen it. A: Yes, I think he is a composer who somewhat stimulates your imagination. Q: Let's talk about French pianists. When I was a college student in New York, there were ways to enjoy classical music cheaply. For example, if college students bought standing tickets at Carnegie Hall, they could watch the concert for $20 with a student ID. So, I had the opportunity to see Martha Argerich's concert, and Lang Lang's concert, and I think I saw many great performances at a low cost. But at that time, when I read programs in New York, most of the references were from people who had studied in Russia or students of people who had studied in Russia. People like Rubinstein and Horowitz were almost gods, and I read about how their lineage was passed down from there, but when I went to France, people were into pianists of unfamiliar faces. That's how I first learned about Alfred Cortot and Samson Francois. My friends who listened to classical music thought that these people were gods, so they listened to their records almost sacredly, but I found that sound very foreign. Compared to the sounds I heard at Carnegie Hall or the sounds delivered by modern pianists, it felt so unfamiliar. What are the characteristics of French pianists? So, is there a unique way that French pianists play? A: People usually tend to think that French pianists are a bit more free in their music, and I think that's because of Alfred Cortot and Samson François. These two have so many accomplishments and are such great pianists, but they both have very different styles of expressing music very freely. In particular, I love Cortot's Chopin, and Corto's Chopin is the complete opposite of Rubinstein's Chopin in style. Rubinstein plays a bit more noble, while Cortot plays with a true free spirit and a romantic style, so when I play Chopin, I always think that it would be good to balance the two. Anyway, when I studied in Paris, I took time to think about what a true French piano school was, and in my experience, it's very academic, I mean French people are more so. What you learn at school is also very important in music analysis. My teacher, Michel Beroff, wasn't the kind of person who plays freely like people would think of French pianists. He was very logical in a subtle way. He was someone who could explain it if you asked him why he did it that way. So I think it would be hard for me to define the characteristics of French pianists in one sentence. Russian pianists are tough to define, but they seem to have a fire inside them. Some play freely, and some don't, but the characteristic is that they have passion inside them. German side pianists are a bit more logical and put a lot of importance on structure. French pianists seem to be the hardest to define, compared to ones from other countries.

***Here is the translation (3) of (4)*** Q: From what I've heard... If this is nonsense, you can just dismiss it, but there's a saying that goes like this. French pianos were "weaker" in power than German or British pianos until the early 20th century. A: Ah, yes. Q: Pianos like Pleyel and Erard were thinner than pianos like C. Bechtein or Steinway, and the metal structures inside were smaller, so they were mostly played in salons that were a bit smaller than concert halls, and the depth of the keys were thin, so the light Clavecin or Harpsichord technique remained in French pianism for a long time. So, Russian pianists, Germans, or those who played the piano used the expression "Jeu chante", which means drawing out the singing sound from a heavy expression while French pianos developed "Jeu perle", which is a very even and floating style like a pearl necklace, due to this technical transition, and that must have influenced Impressionist pianism. Do you think that makes sense? A: I think it makes sense, and in fact, the French piano school and Russian piano school must have existed more clearly at that time than they do now. Nowadays, everything is so globalized that teachers who studied in France or America come to Korea to teach, so I think that identity has become more vague than before. But I agree with what you just said about back then, and I think it had an influence. Q: Provided that, do you think pieces like those of Ravel or Debussy are more suitable for recordings or smaller music salons than concert halls? A: I think Chopin's works are better suited to smaller halls, and Debussy's and Ravel's are the same. Yes, the Brahms concerto that I'm performing tomorrow is one of the composers who represents Germany, and he wrote many weighty, large-scale, and warm pieces. The beginning is [16:38 SJ demonstrates], and the middle part is [SJ demonstrates], and it's in this style. Q: You play music so powerfully and then suddenly when the music ends you speak in a very small voice. It's such a contrast... [JSY laughs] A: There's a piece called "Le Tombeau de Couperin", which Ravel composed to commemorate the dead at the end of World War I. The title, Le tombeau de Couperin, is fairly abstract, but if you look closely at this piece, it incorporates many dance tunes written in the Baroque era. The first piece is Prelude, [17:43 SJ demonstrates]. This kind of stuff. But there's also some powerful music. [18:08 demonstrates] Still, it feels a bit different from German music, even when you play it hard. Q: Wow. I'm trying to digest my emotions (from listening to your playing) a little bit here . . . It's been 10 years since you won the Chopin Competition. A: Haha, time flies so fast. Q: You've played many pieces during those 10 years. Among the pieces you've played, which ones are most meaningful to you? A: Oh, it's a hard question. Many pieces bring a lot of memories to me. Ravel's piano concerto was special to me, and the reason is that in 2009, I collaborated on Ravel's concerto with the Seoul Philharmonic Orchestra and Maestro Myung-whun Chung. After not performing it for a while, I debuted with the Royal Concertgebouw Orchestra in Amstrong where I played Ravel Concerto a few weeks after the Chopin Competition. That performance had been scheduled before the Chopin Competition, and I remember working hard to debut with such a noteworthy orchestra. When I debuted with the Berlin Philharmonic Orchestra, I was a replacement for pianist Lang Lang, and I also performed the Ravel Concerto at that time. Ravel's Concerto has a lot of meaning to me because I performed it multiple times for important orchestra debuts. Q: This question is a bit off, but what kind of relationship do you think there is between Chopin and Ravel? A: I wouldn't say a relationship, I am sure Ravel liked Chopin's music. They are completely different types of composers, but I think they both have a melancholic side and in their works, there is a feeling of loneliness, when I play and listen to Ravel's music. I sense it in a mazurka, Chopin's mazurka even though they have completely different directionality. [20.06 SJ plays Mazurka] This was Chopin. For Ravel, this is the second piece from Miroirs I mentioned earlier. The title is Oiseaux Tristes [20:37 SJ demonstrates] Q: I think I know what you mean. I think there's definitely a similar tone to that slightly melancholic soul. A: Still, it's hard to find many connections. Q: In terms of musical style, if I may say. A: Yes. Q: When you travel around the world performing, do the audiences differ much from country to country? A: It's very different, and I think Germany is the most interesting among European countries. The audiences in Frankfurt, Dusseldorf, and Essen are a little more passionate, and they cheer more. In Dresden and Leipzig, they're a little calmer. Munich is somewhere in between. Speaking of Berlin, a German I know once said that there are three Germanys: Bavaria, Berlin, and the rest. He was joking, but Berlin does seem to have a strong character. The audiences are definitely younger, and more so than in other cities. The audiences in Paris, France, seem to express themselves a lot. I've been to performances when I was studying there where people booed. And London seems to be a little different for each performance. The audiences who like recitals, like in Wigmore Hall, seem a little more gentle, and when it comes to orchestras, there seems to be a different kind of audience. There is (BBC) Proms, the music festival that is held every summer, and there are completely free-spirited people there. And in Italy, in places like Milan, or La Scala seems to have a lot of conservative audiences. On the contrary, Rome appears to have a more passionate audience. Korea definitely appears to have the youngest audience in the world. They are enthusiastic and responsive yet they are quiet during the performance. And the Japanese seem to be a bit calmer. No matter which hall or country I perform in, my mindset is the same. Of course, I get tremendous energy from the audience, but still, I play for myself. I believe I have to play for myself and the composer. The audience comes third, and I will take the blame for that. Nevertheless, I think the audience generally likes it when I occasionally play a satisfying performance. Q: So, what you're saying is that when you are faithful to the composer and pull off the best performance for yourself, the audience will definitely acknowledge that. A: At least that's how I feel. [24:04 SJ smiles sheepishly]

***Here is the translation (4) of (4)*** Q: Earlier, you mentioned that Korean classical music audiences are young, but now that I go to Europe, Koreans, for example, young people want to see Monet and listen to operas in Paris, but in the case of my European friends, there are a lot of people who say that it's the music our grandfathers listened to, so they don't really want to listen to it. It's music that originally had its roots in Europe, but young people in our country are more interested in European classical culture in some ways. Why do you think this music is not appealing to young people in Europe but is appealing to young people in Korea? A: I've been asked this question a lot abroad, so I gave a lot of thought to it about why. I wouldn't say it's about what's appealing. The way I look at it is that Korean audiences seem to be a bit more open-minded. I can give the question back to them and ask, "Why is classical music for older people?" Koreans will say, "Why not?" and go. So, I think Koreans are a bit more open-minded about classical music. Korea has a shorter history of classical music compared to Europe, and that enabled Korean people to stretch it without any barriers. But what I find a bit interesting is that Koreans or Asians enjoy things like wine a lot more than you guys. So that's also one of the things not explainable. Q: They research hard. When you go to a wine club, they know all the regions and producers to an extreme degree. Some people are deeply into classical music. Some people analyze the repertoire in advance on the bulletin board and even pick out the music scores in advance and listen to them during the performance. A: I met a Korean amateur pianist a while ago who was a friend of my friend, and I had a lot of self-reflection. I felt like he knew a lot more than I did, LOL. Q: There are hardcore fans of anything in Korea. So, when you perform here, do you get the feeling that the audience has prepared a lot in advance? A: Commonly known concert hall etiquette is to not applaud after each movement during the performance. While it is not an absolute rule to follow, people say that has been the tradition since the old days. When I played in Korea, there was never a single time when there was applause between movements. Q: Now, you are contributing to music as a performer, but do you have a desire to explore a slightly different area, such as composition, in the future? A: I tried composing once in the past, but I felt that I had no talent. I conducted once, not in a symphony, but while playing the piano, in Tongyeong, in 2019. At that time, I felt, "Ah, this is a debut/retirement for me." I suppose I have good ability to understand myself well to an extent, and I said to myself, "Ah, I have no talent. This ends here." Q: So, it's like this popular TikTok meme these days: Piano vs. violin<piano, piano vs. conducting<, piano, piano vs. composition<piano, so straight to the piano. A: My friends have a nickname for me these days. It's an abbreviation, "JONBP," which means "Jack of none but piano." Q: Could you wrap up by recommending some music that symbolizes Christmas, or some good classical music that would be good to listen to during Christmas? A: There is Brahms' Intermezzo Opus 117 - No. 1. It does not relate to Christmas, but every time I listen to this piece, I think of Christmas. It also makes me feel a little warmer. I think I listen to this piece every winter. Q: [SY hums the tune] This is it, isn't it? A: Yes, that is the one. Q: This Christmas, we'll insert Brahms' Intermezzo Opus 117 between the carol songs when making a playlist and listen to it, which Seong-Jin personally recommended. A: The more you explore classical music, the more you can see. It's similar to wine. I hope that there will come a time when more people can enjoy classical music. Q: These days, it's the golden age of K-pop, but I think it would be a good year-end to listen to various music, such as watching various entertainment programs and occasionally watching Exploration Life, and then going to Seong-Jin's concert or putting on Seong-Jin's Ravel album and enjoying classical music.Jo Seung Yeon's Exploration Life ends here today, and I'll come back next time with more interesting stories of culture and history. Thank you, Seong-Jin for joining us today. Goodbye, everyone.

***Here is the translation (3) of (4)*** Q: From what I've heard... If this is nonsense, you can just dismiss it, but there's a saying that goes like this. French pianos were "weaker" in power than German or British pianos until the early 20th century. A: Ah, yes. Q: Pianos like Pleyel and Erard were thinner than pianos like C. Bechtein or Steinway, and the metal structures inside were smaller, so they were mostly played in salons that were a bit smaller than concert halls, and the depth of the keys were thin, so the light Clavecin or Harpsichord technique remained in French pianism for a long time. So, Russian pianists, Germans, or those who played the piano used the expression "Jeu chante", which means drawing out the singing sound from a heavy expression while French pianos developed "Jeu perle", which is a very even and floating style like a pearl necklace, due to this technical transition, and that must have influenced Impressionist pianism. Do you think that makes sense? A: I think it makes sense, and in fact, the French piano school and Russian piano school must have existed more clearly at that time than they do now. Nowadays, everything is so globalized that teachers who studied in France or America come to Korea to teach, so I think that identity has become more vague than before. But I agree with what you just said about back then, and I think it had an influence. Q: Provided that, do you think pieces like those of Ravel or Debussy are more suitable for recordings or smaller music salons than concert halls? A: I think Chopin's works are better suited to smaller halls, and Debussy's and Ravel's are the same. Yes, the Brahms concerto that I'm performing tomorrow is one of the composers who represents Germany, and he wrote many weighty, large-scale, and warm pieces. The beginning is [16:38 SJ demonstrates], and the middle part is [SJ demonstrates], and it's in this style. Q: You play music so powerfully and then suddenly when the music ends you speak in a very small voice. It's such a contrast... [JSY laughs] A: There's a piece called "Le Tombeau de Couperin", which Ravel composed to commemorate the dead at the end of World War I. The title, Le tombeau de Couperin, is fairly abstract, but if you look closely at this piece, it incorporates many dance tunes written in the Baroque era. The first piece is Prelude, [17:43 SJ demonstrates]. This kind of stuff. But there's also some powerful music. [18:08 demonstrates] Still, it feels a bit different from German music, even when you play it hard. Q: Wow. I'm trying to digest my emotions (from listening to your playing) a little bit here . . . It's been 10 years since you won the Chopin Competition. A: Haha, time flies so fast. Q: You've played many pieces during those 10 years. Among the pieces you've played, which ones are most meaningful to you? A: Oh, it's a hard question. Many pieces bring a lot of memories to me. Ravel's piano concerto was special to me, and the reason is that in 2009, I collaborated on Ravel's concerto with the Seoul Philharmonic Orchestra and Maestro Myung-whun Chung. After not performing it for a while, I debuted with the Royal Concertgebouw Orchestra in Amstrong where I played Ravel Concerto a few weeks after the Chopin Competition. That performance had been scheduled before the Chopin Competition, and I remember working hard to debut with such a noteworthy orchestra. When I debuted with the Berlin Philharmonic Orchestra, I was a replacement for pianist Lang Lang, and I also performed the Ravel Concerto at that time. Ravel's Concerto has a lot of meaning to me because I performed it multiple times for important orchestra debuts. Q: This question is a bit off, but what kind of relationship do you think there is between Chopin and Ravel? A: I wouldn't say a relationship, I am sure Ravel liked Chopin's music. They are completely different types of composers, but I think they both have a melancholic side and in their works, there is a feeling of loneliness, when I play and listen to Ravel's music. I sense it in a mazurka, Chopin's mazurka even though they have completely different directionality. [20.06 SJ plays Mazurka] This was Chopin. For Ravel, this is the second piece from Miroirs I mentioned earlier. The title is Oiseaux Tristes [20:37 SJ demonstrates] Q: I think I know what you mean. I think there's definitely a similar tone to that slightly melancholic soul. A: Still, it's hard to find many connections. Q: In terms of musical style, if I may say. A: Yes. Q: When you travel around the world performing, do the audiences differ much from country to country? A: It's very different, and I think Germany is the most interesting among European countries. The audiences in Frankfurt, Dusseldorf, and Essen are a little more passionate, and they cheer more. In Dresden and Leipzig, they're a little calmer. Munich is somewhere in between. Speaking of Berlin, a German I know once said that there are three Germanys: Bavaria, Berlin, and the rest. He was joking, but Berlin does seem to have a strong character. The audiences are definitely younger, and more so than in other cities. The audiences in Paris, France, seem to express themselves a lot. I've been to performances when I was studying there where people booed. And London seems to be a little different for each performance. The audiences who like recitals, like in Wigmore Hall, seem a little more gentle, and when it comes to orchestras, there seems to be a different kind of audience. There is (BBC) Proms, the music festival that is held every summer, and there are completely free-spirited people there. And in Italy, in places like Milan, or La Scala seems to have a lot of conservative audiences. On the contrary, Rome appears to have a more passionate audience. Korea definitely appears to have the youngest audience in the world. They are enthusiastic and responsive yet they are quiet during the performance. And the Japanese seem to be a bit calmer. No matter which hall or country I perform in, my mindset is the same. Of course, I get tremendous energy from the audience, but still, I play for myself. I believe I have to play for myself and the composer. The audience comes third, and I will take the blame for that. Nevertheless, I think the audience generally likes it when I occasionally play a satisfying performance. Q: So, what you're saying is that when you are faithful to the composer and pull off the best performance for yourself, the audience will definitely acknowledge that. A: At least that's how I feel. [24:04 SJ smiles sheepishly]

***Here is the translation (4) of (4)*** Q: Earlier, you mentioned that Korean classical music audiences are young, but now that I go to Europe, Koreans, for example, young people want to see Monet and listen to operas in Paris, but in the case of my European friends, there are a lot of people who say that it's the music our grandfathers listened to, so they don't really want to listen to it. It's music that originally had its roots in Europe, but young people in our country are more interested in European classical culture in some ways. Why do you think this music is not appealing to young people in Europe but is appealing to young people in Korea? A: I've been asked this question a lot abroad, so I gave a lot of thought to it about why. I wouldn't say it's about what's appealing. The way I look at it is that Korean audiences seem to be a bit more open-minded. I can give the question back to them and ask, "Why is classical music for older people?" Koreans will say, "Why not?" and go. So, I think Koreans are a bit more open-minded about classical music. Korea has a shorter history of classical music compared to Europe, and that enabled Korean people to stretch it without any barriers. But what I find a bit interesting is that Koreans or Asians enjoy things like wine a lot more than you guys. So that's also one of the things not explainable. Q: They research hard. When you go to a wine club, they know all the regions and producers to an extreme degree. Some people are deeply into classical music. Some people analyze the repertoire in advance on the bulletin board and even pick out the music scores in advance and listen to them during the performance. A: I met a Korean amateur pianist a while ago who was a friend of my friend, and I had a lot of self-reflection. I felt like he knew a lot more than I did, LOL. Q: There are hardcore fans of anything in Korea. So, when you perform here, do you get the feeling that the audience has prepared a lot in advance?A: Commonly known concert hall etiquette is to not applaud after each movement during the performance. While it is not an absolute rule to follow, people say that has been the tradition since the old days. When I played in Korea, there was never a single time when there was applause between movements. Q: Now, you are contributing to music as a performer, but do you have a desire to explore a slightly different area, such as composition, in the future? A: I tried composing once in the past, but I felt that I had no talent. I conducted once, not in a symphony, but while playing the piano, in Tongyeong, in 2019. At that time, I felt, "Ah, this is a debut/retirement for me." I suppose I have good ability to understand myself well to an extent, and I said to myself, "Ah, I have no talent. This ends here." Q: So, it's like this popular TikTok meme these days: Piano vs. violin<piano, piano vs. conducting<, piano, piano vs. composition<piano, so straight to the piano. A: My friends have a nickname for me these days. It's an abbreviation, "JONBP," which means "Jack of none but piano." Q: Could you wrap up by recommending some music that symbolizes Christmas, or some good classical music that would be good to listen to during Christmas? A: There is Brahms' Intermezzo Opus 117 - No. 1. It does not relate to Christmas, but every time I listen to this piece, I think of Christmas. It also makes me feel a little warmer. I think I listen to this piece every winter. Q: [SY hums the tune] This is it, isn't it? A: Yes, that is the one. Q: This Christmas, we'll insert Brahms' Intermezzo Opus 117 between the carol songs when making a playlist and listen to it, which Seong-Jin personally recommended. A: The more you explore classical music, the more you can see. It's similar to wine. I hope that there will come a time when more people can enjoy classical music. Q: These days, it's the golden age of K-pop, but I think it would be a good year-end to listen to various music, such as watching various entertainment programs and occasionally watching Exploration Life, and then going to Seong-Jin's concert or putting on Seong-Jin's Ravel album and enjoying classical music.Jo Seung Yeon's Exploration Life ends here today, and I'll come back next time with more interesting stories of culture and history. Thank you, Seong-Jin for joining us today. Goodbye, everyone.

목소리까지 좋네 갓성진

해도 되나? - 하면 안 됨 해야 하나? - 해야 함

개인적으로 좋고 나쁠거 없다고 봄. 저 국가의 고유한 문화와 스타일이 저런가보다 하지. 비판하고 깎아내리고 필요는 없다고 봄. 비판하는 사람들은 대두분 남을 깍아 내리고 자신이 남들보다 더 우월하다고 느끼고 싶어서라고 봄.

쇼팽 덕후로서 이번편은 크리스마스 선물 그 자체네요

조성진과 라벨이라니 ㅠㅠ 탐구생활에서 보는 제 최애 피아니스트와 작곡가..

사랑을 주고싶을때 결혼을 하고 더이상의미련이 없을때 아이를낳아라… 배우자는 이런생각이 같은 사람 왜냐면 받고자하는 사람은 끝이없다 주는 사랑은 한계가있음

그냥 내로남불인 꼰대 틀딱 늙은이들때문에 이렇게 변한거지 ㅋㅋ 사회생활하면 대단한 내로남불들 ㅋㅋㅋ 지자식은 귀하게 자라야되고 남의자식은 노예처럼 다루고

저는 클알못인데 최근에 클래식음악에 관심이 커졌고 많이 듣고 읽고 배우는 중입니다. 조성진 피아니스트의 설명 듣고 많이 배웠습니다. 짤막짤막하게 연주하면서 설명해주는 모습에서, 조용조용한 점잖은 어투에서 학자적 면모가 보여요. 아마도 이래서 귀족적이다 하는 평이 나오나 싶어요. 여기 미국에서 클래식 음악 평론가들의 리뷰 글을 보면 조성진 씨 언급이 많이 되고 있어요. 세계 음악계에서 확실한 존재감 있는 조성진 씨. 대한민국의 자랑스러운 피아니스트입니다. 더욱 잘되기 응원할게요.

엄청난 귀찮러지만… 언급 됐던 작곡가들, 곡명들 지금 당장 찾아서 플레이리스트 만들어놔야지 지금 아니면 절대 할 수 없을 것 같다. 클알못인데 이렇게 클며드는군…

대가와의 인터뷰에 사이사이 실제 플레이를 보고 설명을 들을 수 있는 것 하나 만으로도 내 소중한 시간과 관심을 쏟게 되는 프로그램이다.🤩

수많은 타인들 속에서 서로에게 시간을 쓰고 애써주면서 서로가 서로를 특별하게 만드는, 어린 왕자를 인용한 부분이 너무 마음에 와 닿네요.

와 ㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋ조성진 미쳤다

와 정말 최고의 인터뷰였어요. 조성진님의 해석과 다양한 생각을 말로 듣는 귀한 시간이었습니다. 승연님 감사해요!

정말 그냥 지나칠 수 없는 조합이네요! 귀한 인터뷰 감사하고 또 감사드립니다~ 두분 대화를 들으니 차가운 겨울바람에 꽁꽁 언 두손을 핫팩으로 녹인듯 사르르 녹습니다 ㅎ

아니 이 채널은 진짜 걍 침대에 누워가지고 공짜로 봐도 되나 싶음…

아니....조성진님....왜케 점점 더 잘생겨지세요..❤

말도 참 차분하게 잘하시는구마잉

이렇게 말많은 인터뷰는 처음이네요^^ 저도 조성진님 2016년 쇼팽콩쿨때부터 봤어요 그때 제가 첫째임신해서 태교로 성진님 피아노를 많이 들었어요 아이가 커서 올해 콩쿨대회에서 대상을 탔네요 피아노도 너무 좋아하고 꿈이 피아니스트에요 태교영향이 있다고 믿습니다 감사해요 항상 건강하시고 응원할께요~~~!!

흔히 클래식 전문가라고 하는 사람들보다 훨 수준이 높고 알찬 인터뷰네요

앞으로 계속 이 헤어스타일 유지해주세요~~~

말씀능력 영력 고강도 명천12수제자 명피아니스트 하명중 🎉❤

왕자님들 대화..♥︎

두분의 케미가 넘 좋으신거 같아요❤ 정말 크리스마스 선물이네요

크리스마스 선물 주셔서 감사합니다 !!:)

이런 인터뷰 넘~~~~ 좋네요~ 연주가가 직접 말하는순간들이 더 임팩트있고 더 깊이 이해되는것같아요.

이건 데뷔이자, 은퇴다 ㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋ 조성진은 진짜 재밌는 사람 맞다니까....

27:29 전 조빼시인데요..

인터뷰하시는 조승연님의 애티튜드, 조성진 피아니스트의 아름다운 연주와 흥미로운 답변까지.. 제가 본 조성진 피아니스트 인터뷰 중에 최고입니다. 시벨리우스 콩쿨에서 우승하신 양인모 바이올리니스트도 인터뷰해주시면 좋을 것 같아요!!🥹🙏

질문이 정말 좋아요! 조승연님 차이나는 클래스에서 처음 뵀는데, 그때도 참 질문이 좋다 생각했었거든요~ 좋은 인터뷰에 이끌려 구독합니다^^

조승연님 영어로 한국말 발음 영어 알파벳 그대로 발음하시는거 은근 킹받넼ㅋㅋ

헌법 질서를 지키는 것이 우리 우파의 핵심 가치인데 윤돼지는 헌법을 깨는 미친 짓을 했다.

맹신과 신념의 대결이겠지요

요즘 민주주의를 무너트리고 독재를 하려 했고 국민을 개돼지로 취급하려 했던 자들과 그들의 옹호세력에 혐오감을 느끼고 있었는데.. 오히려 그들이 개돼지로 보이는데.. 혐오감은... 정말 위험한 감정이긴 한 것 같습니다.

오 잘봤어요. 조명까지도 고급스러운 인터뷰. 와 짧게 들려주는 연주가 이렇게 아름답다니요❤❤

weird and inconsiderate interview. 얼마나 물어볼 게 많은 전성기의 Tom Cruise, Johnny Depp를 불러놓고 movie history나 과거 영화감독에 대해 물어보는 느낌.

브피협 ㅠㅠ

저 구독 오래전부터 하고 있었는데… 성진님 나오니까 넘넘 좋아요~~!!!! 승연님도 클래식 지식도 해박하시군요~!!! 이 클립 넘넘 감사해요~!!! 음악사까지~😍😍🥰

역대급이네요. 최고입니다!

세계정치에 무지했는데 이 컨텐츠 덕분에 미국에 대한 각 나라 입장을 알게 되고 이렇게 경제가 돌아가는구나 하고 깨달은 점이 많았어요 감사합니다

아우 너~~~무 좋습니다 ❤

미친미친미친

넘 멋진 인터뷰였어요. 조성진님의 라벨 앨범 기대중입니다!!

와..... 메타인지..

이왜진ㅋㅋㅋㅋ