[Q피디의 땡큐포더뮤직] #33 다시 태어나도 피아니스트 - 피아니스트 조성진

#asmr #땡큐포더뮤직 #조성진
- 진행: 큐피디
- 출연: 피아니스트 조성진
- 본 방송은 2019년 10월 제작, 방송된 팟캐스트입니다.
27:00
Chopin: Piano Concerto No. 1 in e minor, Op. 11 - 2. Romance (Larghetto)
Seong-Jin Cho/piano ,Jacek Kaspszyk/conductor, Warsaw Philharmonic Orchestra (Final stage of the Chopin Competition 2015)
44:07
Beethoven: Piano Sonata No. 8 ‘Pathetique' in c minor - 2. Adagio Cantabile
Seong-Jin Cho/piano
1:14:24
Tchaikovsky: Piano concerto No.1 in B minor op. 23. 3. Allegro con fuoco
Seong-Jin Cho/ piano, Mariss Jansons, Symphonieorchester des Bayerischen Rundfunks(SZ Charity Concert with Mariss Jansons & Seong-Jin Cho, 2018)
1:24:51
Mozart: Rondo in A minor K.511 - Seong-Jin Cho/ piano(Flâneries Musicales de Reims, 2016)
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[@Augustine_Lee]

세상에 뛰어난 피아니스트들이 많지만 그 중에서도 천상계 클라스 피아니스트인데 늘 겸손하심 오늘 말씀하시는거 들으니 기억력도 남다르시네요

[@youjinjeung6302]

성진님 생각을 자세히 들을수 있어서 좋아요.본인은 말 잘 못한다고 하는데 말도 명료하게 잘하네요.

[@상콤허니]

기억력이 왜케 좋아요!!!!!!!!!????

[@oh_hayo13]

넘 겸손하다 이래서 클라스가다르구나

[@sykang901]

와.. 진짜 조성진 안녕하세요~ 부터 목소리 오졌다.... 분위기 압살....

[@sunnyjoy4450]

달빛 배경음악과 선생님의 편지가 감동입니다 아름다워서 눈물나요. 성진님이 말수가 적고 신중하게 조심해서 차분히 말을 잘 하드라구요 할말하고 안할말 안하고.. 자기마음을 잘 지키는 모습이 너무 대견하고 보기좋아요.

[@hwaitec]

기억력 무슨일이야.......

[@ayeonayeon8619]

요새는 이런 라디오 인터뷰를 찾기가 힘든거같아요ㅠ 듣고싶다 성진씨 목소리 더ㅠㅠ

[@user-kz6st1mj1i]

아....그는 비밀 많은 남자였어~ㅋㅋ 매력터져~♡

[@kimlee2946]

He is so bright that remembers all the details. Whatever career he has chosen, he would have been successful.

[@kimsh2440]

요즘 이 젊고 겸손하고 최고의 지성 인에게 푹 빠져있어요

[@davida8868]

2021년 리사이틀 프로그램으로 쇼팽 스케르초를 생각하셨었군요. 그래서 한국에서 리사이틀이 몇차례 더 연장 되면서 프로그램에 스케르초를 넣으셨나봐요. 예정대로라면 한국에서는 몇 번 연주가 없으셨는데 코로나로 인해서 체류 기간도 길어지신 것 같아요. 경기아트센터에서 들었던 스케르초 1번이 잊혀지지가 않는데 성진님도 스케르초 1번을 너무 하고 싶다고 하셨었네요. 신수정 교수님의 글도 잘 들었습니다. 듣는데도 눈물이 나네요. 정말 많은 분들의 관심과 가르침 속에서 조성진이라는 국보같은 피아니스트가 탄생된 걸 새삼 느꼈어요. 몇 번이고 다시 들을 것 같은 영상 올려주셔서 감사해요^^

[@sjpark938]

이거... 그거쟈나요ㅜㅜ 비밀이에요ㅜㅜ😭😭 너무 귀여우셨다구요ㅠㅠㅠㅠ

[@ilovebbo]

성진님 한마디 하면 패널들은 열마디 하는듯... 질문 이끌어주는건 좋은데 듣는사람 입장에선 그저 TMI 수다떠는거 로밖에 안들립니다. 물론 귀한인터뷰 감사합니다 :)

[@user-of9eu9ce9k]

원래 숑진님이 말수가 많은 편이 아니니까 저렇게 편한 분위기를 만들어주시는것도 나쁘지 않은 것 같아요~!!! 그냥 편하게 이야기하는 자리라는 느낌이 들어서 더 좋았어용

[@chaeyoungchung7180]

살짝 저도 그런 생각이 😥😥

[@om-ie2fp]

앙큼보이..비밀이 많아

[@user-jd3gq3py9q]

오늘들어도좋아요.어쩜이리진중하고겸손한지..목소리는그냥베스킨라빈스네요~^^~

[@user-gs6dt1ln8z]

계속 들어봐도 재미있네요^^ 마지막 신수정 선생님의 편지는 정말 감동이고 지금의 조성진 피아니스트가 개화 하기위해 이끌어 주신 수 많은 분들을 깊게 생각하게되는 시간이었습니다. 감사합니다♡

[@_yun6980]

비밀이에요, 꺅 귀엽

[@pmh9610]

연주자를 편하게 대해주시는게 느껴져요

[@kpluvmusic5876]

**********(4)********** Q: Now, we will be listing to the live performance of the 2015 Chopin international Competition finals held in Warsaw in 2015. Mr. Cho plays Chopin Concerto No. 1 in E minor, Opus 11, 2nd movement. [Music] Q: [ . . . ] It was Seong-Jin Cho with the Warsaw Philharmonic. Our topics have been all related to Music so far, and of course, there will be topics related to current recordings. Please tell us about your recent recordings being released and also upcoming concerts. SJ: My next release in June will be a solo album of Schubert Wanderer Fantasy, Alban Berg Sonata, and Liszt Sonata. Those pieces have common elements: all one-movement sonatas, which develop a small motive into a vast art. Especially, Liszt composed his sonata inspired by Schubert's Wanderer Fantasy. So I thought that would be a good selection. In June 2019, three months ago, I finished recording Schubert and Berg in Berlin. I will be recording Liszt next month in Hamburg. Q: As a matter of fact, I was so pleased in Singapore because I imagined Mr. Seong-Jin's Wanderer Fantasy to be like that. I thought you would go reflective with Liszt while giving lots of space, but you went straightforward. Ah, right, not gentle and lyrical; it was either pushing your way through explosion and passion or staying faithful to your instinct. I would say it was close to the latter. How did you like your performance that day? Were you satisfied? SJ: 7.5 out of 10 being the perfect score. Q: 7.5? SJ: 7.5 to 8. It was alright. Q: Which performance of yours can you give yourself a high score. SJ: You mean, this year? One time in May this year (2019) when I gave a recital in Munich. I liked my performance there, and the rest was what . . . Q: When you say you like it, what does that mean? SJ: That means I can't do better than that. [Laughs] Q: 10 out of 10? Are there times like that? SJ: 9-9.5. Q: You don't give 10. SJ: I hit the perfect score in August 2010 in Daegwallyeong. I performed Mendelssohn's Double Concerto with Sejong Soloists. Q: I remember you played with Seong something Cho that time. SJ: His name was Seong-Won Cho. Q: You're right-his name was like yours. SJ: I can give that performance the perfect score. Everything was idealistically in harmony, somehow. [Music] SJ: The performances of Sejong Soloists, Seong-Won 형(Hyeong)'s performance, my performance, the condition of the piano, and the acoustics . . . Unless their cell phone goes off, the audience does not affect much." The acoustics of the hall and the condition of the piano is the most critical. Q: Pianists do not carry their instruments with them, so which piano you end up with can be a game-changing factor. Kim: You said that you performed Chopin Concert No. 1 many times following the competition. Did you say 40 times in a previous interview? A: Yes. Kim: You said now that you had played it many times, you feel like you are getting the hang of it. You repeat the same piece numerous times on your recital repertoire and continue to bring the work to perfection on stage before recording. Your perfectionist tendencies seem to be getting stronger. SJ: There is nothing unusual about playing the piece on stage first before recording it. Goerne and I recorded together a year after we went on tour too. The Music matured on us. Besides live recordings, I believe it has to be the best interpretation possible. You have to have the least bit of confidence within you, although I cannot say I am too pleased with my albums except for Mozart. This year's repertoire that I am playing includes Shostakovich No. 1, Concerto No. 1, Paganini Variations, and Rachmaninov Concerto No. 1. I don't think I am being conservative here. Q: Yes, you are right about the concerto programs but your recital programs. SJ: For my recital programs, Brahms Klavierstucke, I haven't played many Brahms, and now I am. Next year, I am also playing Frank Choral et Fugue, Szymanowski, and I am thinking about playing Chopin again in 2021. Q: What is the reason? Why did you decide to play Chopin again in that particular year? SJ: It's not about when I should play it. I have been wanting to play Scherzo 4 pieces. I have played three pieces out of 4. I've never played No. 1. So I thought that I would play all 4. Q: When you mentioned Szymanowski, Zimerman came across my mind. Did you happen to be influenced by Zimerman to select Szymanowski? SJ: What motivated me to select Szymanowski was pianist Anderszewski. He played Masks, and I want to say I listened to his album when I was in middle school. I thought to myself that I really wanted to play it someday. [Music] You have to plan out the program years ahead. You get your concert schedule for 2-2.5 years in advance in Europe, and you will need to have your programs out at that time. You need to have an extended plan. I decided on Szymanowski at the beginning of the year. Q: Are you fully scheduled for the next three years? SJ: In the US and Europe, their seasons run from September to July each year. My schedule is full to July 2021; currently, they are scheduling the 2020-2021 season for me. The 2020-2021 season is not complete yet, although several major ones have been scheduled. Q: What's your plan to perform in Korea? SJ: Korea has a different season that runs from January through December. I don't handle that; my manager does. I will have a recital tour in July and in October next year. [Note: His schedule was changed around a lot this year, 2020, due to the pandemic ] Q: Any plan on going for quintets, accompanying, or conducting like this time? SJ: I don't think I will have a lot of concerts in Korea next year. Q: In the latest interview, you said most of the time, you are not satisfied with your performances, and only 1% out of all your performances are satisfactory. So you said earlier, you may give your Munich performance in May a high approval score but no other ones for this year. It registered deeply in my memory; in your interview with Nahee Kim, the critic, if I remember it correctly, you said, "The joy that you get from your satisfactory performance lasts so long that you ponder on those musical moments. You try to remember how you made it, and you find yourself humming. The joy that you get from it is a mesmerizing moment. You get on stage wishing that today is the day and that 1% is what drives you to continue your journey on stage." When I read that, I was curious to know two things; when do you feel satisfaction from your performance? Whatever your standard is, you remember the specific performance from 2010 and one from May this year, so what does that mean to you to have a satisfactory performance? SJ: When I say my performance was satisfactory, that means I played WELL. Q: What do you mean by "I played well"? SJ: You know what I mean! [Laughs] It doesn't register to you right away; "I played poorly" or "I played well"? You feel it while you are playing, regardless of whether you miss some notes. Q: Years back, Ms. Kyung-Wha Chung was playing the Unaccompanied Partitas for Violin by Bach; she had to stop at one point because she choked on something. Nevertheless, I felt as if I were being sucked into her performance as she gave it all in one movement. As Ms. Chung walked backstage, she burst into tears. She said she felt as if her music were ascending to heaven from her fingertips while performing. I later heard that backstage. Then I realized that she was talking about the exact moment that I felt it. It was astounding that we had that moment at the same time. When those moments are met jointly by you and your audience, you acknowledge you played well, and the audience can also feel they enjoyed it. Kim: The public knows you more for winning the Chopin Competition, yet your performance level or footsteps afterward outdid it all. You convinced others that the competition just was a mere means for you. I heard that Dan Thai Son said you came to play a lot more freely. Do you feel that way too, comparing before and after the competition? SJ: As a matter of fact, I only played differently during the competition, where I played less freely. Before the competition, I always played freely. Juries only saw my performances during the competition. [Music] You get incredibly nervous during the competition to the point that you choke. When you are nervous, you palpitate and breathe differently, which naturally affects your Music. So I was less expressive. It wasn't my intention. I was just too nervous. Kim: Because you had practiced a lot, it just came out of you. SJ: I did practice a lot, not that I can say it helped. You have to have a strong mentality for that, to do well during the competition. I think I kind of have it. Kim: Do you still get nervous during your performance these days too? SJ: I get nervous more and more as I perform. Q: You get as nervous as when you participated in the Chopin competition? SJ: It's a different type of nervousness. I don't know why. I thought I would be more used to it as I perform more and get less nervous, but I am getting more nervous. Q: This is my case; when you don't know much, you don't get nervous, but once you think you know it well, have prepared for it well, and your mind opens up to it how they are, you become more cautious and feel you are not good enough. Kim: You get nervous to the point that it worries you? SJ: Not to that extent yet. Just a little. Kim: He has the most assertive mentality. Q: I think so too. SJ: Not like that.

[@user-md7ye5ju9i]

정말 잘 들었습니다 제작분들께 진심으로 감사드립니다🙇🙏😄🎹🎼🎶💗💚💜💙💛💐🙌🎵

[@user-ff9dv4bo4q]

독일 가신지 얼마 안 되었는데 실연 또 다시 그립네요

[@user-dk9pb3lf4s]

질문은 짧게,,질문자는 말 좀 적게,,,ㅠㅠ성진님 말 좀 들어보자,,,,ㅠㅠ

[@28thmayCho]

고전적 하루 MC보신분 여기에 계신듯 한데..... 좀 진정성 있고 게스트를 배려하는 진행좀...

[@suyeon0914]

내말이.....

[@user-se5sd3ck8q]

성진님을 모셨다니!!😭❤️ 최고ㅠㅠ

[@user-jk8de2ch4o]

이번 부산, 성남 리사이틀 다녀왔는데, 성진님은 1년 전부터 이번 공연들 프로그램을 벌써 계획해놓고 있으셨네요....... 시마노프스키부터 앵콜+추가 프로그램으로 연주하셨던 쇼팽 스케르초까지!ㅠㅠ 흑 역시 성진님은 다 계획이 있구나♥♥ 영상에서 나왔던 성진쵸 효과처럼 저도 성진님 덕분에 클래식을 더욱 깊고 다양하게 접할 수 있는 것 같아요 ㅎㅎㅎ 앞으로도 뒤에서 행복하게 응원하는 골수 팬이 될게요 사랑해요 성진쵸ㅠㅠㅠ 그리고 목소리 좋은 거 실화.....? 자기 전에 들어도 좋고 공부하면서 들어도 좋네요ㅠㅠㅠㅠ 흑흑 좋은 인터뷰 올려주셔서 감사해용 벽 뿌숴!!!!!! 사랑해!!!!!!

[@user-lp9vn7bw9u]

아...너무좋아.. 목소리가 설탕같이 스위트하다♡♡

[@sheep5484]

이번 인터뷰 가장 편하게 느껴짐~

[@user-st9ky2ej6u]

팟캐스트로 들었었는데 올라왔네요! 성진님 연주도 최고지만 인터뷰를 보면 볼수록 인성도 마인드도 음악을 대하는 진정성 있는 자세도 최고👏🏻 정말 대단한 사람이라 느껴져요:)

[@catherinejones9396]

S-J has an international audience. Pretty sounding language in the intro - I understood a very few words-I'm lost without subtitles- but I guess it was all supportive of Seong -Jin and very well intentioned. I lived in hopes of the eventual performance. If it was SJ speaking, he has a very nice baritone speaking voice. Luckily I had heard all of the listed programme previously, but I would have loved to have understood the inserted comments. I went hunting for the Prokofiev🤨🤨

[@Jy-gr3xz]

드뎌 성진님이 나왔네요 ~~~^^ 감사합니다

[@user-fz8tq4ef3x]

조성진 피아니스트와 같은시대에 살고있음을 감사합니다. 조성진 음악을 통해 기쁨과 위안을 받고 있습니다. 고맙습니다.

[@yericho7148]

심적으로 안정적으로 칠수 있으려면 일주일은 필요하다고 했는데, 이번에 카네기홀에서 베를린필이랑 라흐마니노프 콘체르토 2번 하루만에 하다니! 새삼 더 대단하게 느껴지네요.

[@user-he9xs8zn9y]

비엔나필이죠, 아마?

[@primrose0421]

빈필입니다.

[@user-vp8rm9cu4d]

진짜루 ㅠㅠㅠ 대체 언제 한국 다시 돌아오시는거래요 ㅠㅠ 주기적으로 들어줘야해

[@berlin9934]

목소리 ㅠㅠㅠㅠ

[@_yun6980]

조성진의 음성으로 조성진의 얘기를 듣고싶은데, 패널이 더 말을 많이하는건 아쉽다.

[@sooj137]

웃음소리도 너무 커요 ㅠㅠ

[@user-ci6oh4nc5y]

아티스트 얘기가 끝날 때까지 좀 기다려 주지 패널들이 시간을 안 주고 열 마디를 하네요.

[@user-hs9zz9ec4s]

음 비밀이에요 운이었어요 게을러서 레파토리 연습을~~ 성악반주 괜찮았다. 마음에 든다. 스스로 만족했다. 7.5ㅡ8. 9ㅡ9.5. 10ㅡ대관령 모든게 잘 맞았어요 갈수록 떨려요 느낌아실텐데요 피아노는 아닌걸로 피렌체, 스위스, 런던+남극 못 알아보니까 좋아요. 피아니스트는 쇼팽콩쿨.베를린 필하모닉.카네기홀.DG뮤직 해야 할 일? 하지말아야 할 일? 모르겠어요. 통화를 선호해요. 솔직히 아까도 말했듯이 아무 생각이 안 들어요.

[@user-om9cb7qr7f]

와 이 인터뷰를 지금에야 봤네요!!!! 너무 재미있는 인터뷰에요ㅎㅎㅎ

[@studying_jinju]

좋은 영상 감사합니다.

[@siapark2709]

땡큐땡큐 땡큐합니다

[@kpluvmusic5876]

*** Translation: Divided it into (7) comments*** **********(1)********** This podcast was recorded in September 2019, broadcast in two parts in October 2019, and recently uploaded as one video on KZbin on 12/04/20. You can hear five voices in this interview. I hope they will forgive me if I get their names wrong :D SJ: Mr. Seong-Jin Cho Q: Q PD or/and one of the two ladies below, Kim or Lee. Kim: Ms. Ho-jung Kim, Reporter Lee: Ms. Jeong Lee, Editor in chief Director: Mr. Yong-Sik Lee, Univeral Music Group/DG director =Part I= Q: Hello, everyone! "Meet the artist through the music and meet the music through the artist" This is Q PD's Thank You For The Music. It's October. Are you all starting well? Don't you hear my voice a little more excited than usual today? It's been almost 1.5 years since we started this podcast, and we have met with many precious Korean musicians. As we announced last week, we have the most influential guest of all time with us today. I will make it short. This artist was one of the most frequently referred to by our previous guests. He is a swamped and sought-after musician. A lot of people want to see him and hear about him. Some say Korea's classical music history can be divided into before and after his appearance, which we agreed with during our previous show. Let's welcome the Pianist, Mr. Seong-Jin Cho. We have Jeong Lee, editor in chief, who has been with us since last week, and reporter Ho-Jung Kim. We also have a special guest today; he closely assists Mr. Seong-Jin Cho and hardly makes public appearances. Let's welcome Director Yong-Sik Lee, who works for the Universal Music Group (the Deutsche Grammophon's parent company). Q: Welcome! (Three people say hello one at a time, with SJ the last one to say it). You listeners all know whose voice this is, right? [Toward SJ] Why didn't you say (your typical greeting) "Hello, this is pianist Seong-Jin Cho."? SJ: This is Seong-Jin Cho. Q: You still don't say, "pianist"?! You aren't shy to say you are a pianist, are you? SJ: Just . . . [Ladies Laugh] It's a little easier to say in English. Q: You may say it in English. SJ: No, thank you! [Laugh] Kim: We speak English too, you know. [Laugh] Q: Today is Tuesday, September 17, 2019, talking to Mr. Seong-Jin Cho. Where did you give your concert yesterday? SJ: I gave a recital in Yoen Chun. Q: And tomorrow? SJ: In the Seoul Art Center with Matthias Goerne. Q: And then you go to Tongyeong, right? You are in the middle of a busy week titled "A Week of Seong-Jin Cho." You only have one day off, that being today, and you are giving it to us. We appreciate it! [Ladies laugh: SJ might be goofing around] When we prepared this interview, we had our ambitions. Just the fact that we can have you here with us is valuable. If we can look back on your path, it's already been four years since the Chopin Competition. We will have a new winner next year. We agreed that we would have a lot to talk about by this time, your past, present, and future. How are you spending your time these days? SJ: I visited Hong Kong and Singapore last week, this week, I am giving concerts in Korea, and next week I will be in Japan. I am alive. Q: Talking about your programs, playing the piano isn't all of it. They vary in arrangements as many as any pianist can choose from, including different ensembles and concertos. Are you alright with having to go with different colors within the same week like this? Is it manageable? Not only is it mentally challenging, but also the directions for the repertoires you prepared are divergent. Is it worth doing? [Note: SJ performs at Tongyeong Concert Hall for four days in a row **09/19/19: Chamber music with Belcea Quartet, 09/20/19: Piano accompaniment for Matthias Goerne, 09/21/19: Recital, 09/22/19: Conducting from the keyboard** All seats for these four concerts were sold out within 1-2 minutes. The last concert of the piano concertos in 49 seconds.] SJ: It's tiring, although it's a lot of fun. Chamber Music requires more concentration. You don't play alone, so you will also have to be all ears to your partners. You get more tired physically and mentally after playing Chamber Music. So right now, I try to relax and stay in good shape rather than practice. Q: I think you can physically ingest various programs like this only because you are in your 20's. I was a little surprised to see the programs myself. I didn't think your style was this bold to experiment with such various programs and do all these tasks in an adventurous way; you give all those concerts on four consecutive days and in the same place. What was the process? SJ: I did a recital in May 2017 in Tongyeong. Frankly, Tongyeong is one of my favorite concert halls in Korea. There was a proposal for "A Week of Seong-Jin Cho." I remember that was two years ago. I accepted it. I thought it would be no fun, though, if it were only me. I told them I also wanted to include chamber music. At that time, coincidently, I'd just finished touring Europe with Goerne. No, actually, I had planned to tour Europe and had a recording project to work on. I thought it would be a good idea to have Goerne over to Korea. It first started with a recital and Goerne in mind. Next came the Belcea Quartet. I found out that they would be in Korea for this week. They are an outstanding quartet, and I thought it would be great to collaborate with them. I put a lot of thought into deciding on the program for the last day of the series. I was thinking about doing a concerto or chamber music with my friends. I have some close friends who are musicians, but their schedules didn't fit, so I dropped chamber music off my options. I also had a close friend who was a conductor and thought about trying him (or her), then I thought since this was an excellent opportunity, maybe I could conduct. Q: So, you came up with the idea yourself and pitched it? SJ: Yes. I regret it a little now. [in a joking tone: Ladies Laugh] Q: For that reason, someone asked this question. In one of your previous interviews, you said, " I think that I can never stand on the podium and open a speech in front of people while being stared at. I would be too shy. I would say, 'Hello,' and immediately say 'Bye' and walk away." SJ: I learned some conducting skills. Um, so I felt more than ever that it wasn't my path. [Ladies Laugh] Q: How did you learn conducting? SJ: I learned it from a conductor. Q: Did you knock on someone's door and tell them that you wanted to try conducting? SJ: No. These were already on my repertoire, so I just asked how to do Mozart and Chopin's introductions. Someone taught me, and he said not to tell anyone that he did. [Ladies Laugh]

[@kpluvmusic5876]

And SJ later said that this 4-day series in Tongyeong was one of the highlights in his career. Q: Last year you did a festival in Tongyeong, that is remembered by many people. It was called "Seong-Jin and Friends(A Seong-Jin Cho's week)" with four concerts in four days. This must have been very demanding for you, kind of like the Chopin competition. You played a duo program with Matthias Goerne, you played Brahms Quintet, for the first time, with Belcea Quartet; you played a recital and a school concert, and you conducted two concertos from the keyboard, for the first time. How did that feel? Were you just overwhelmed, or did you like it in the end-all these concerts in just four days? SJ: I was not exhausted, back then. I was really excited. And I have to repeat: the Tongyeong Concert Hall is one of my favorite halls in Asia. I was really happy to be there! The hall really felt like home, I went there everyday, for rehearsals, for concerts, I hardly spent any time at my hotel. I didn't think I was tired, but after the festival, I went on playing in Japan, then went back to Germany to my home, and I got sick. But I still remember the Tongyeong festival as one of the highlights of my career: I cannot forget about my recital at that time. I was really, really happy about the recital last September. I already told one journalist, this was one of the most satisfying recitals of my life! Even now, I feel like that, because of the audience- they were so concentrated; the acoustics; all the circumstances were perfect! So I could truly concentrate on the music, and the result was really good. Tongyeong Festival Orchestra was really warm nice people. I know that I was not so professional at conducting, but the musicians could understand and they really followed me well, so I really appreciated working with them. wfimc-fmcim.org/wp-content/uploads/2020/06/Seong-Jin-Cho-Interview-1.pdf

[@kpluvmusic5876]

I spelled Goerne wrong all along LOL.

[@anashiaidan]

What do we intl fans do without you ;; can't thank you enough for your hard work translating Seong-Jin's korean interviews ❤️❤️

[@kpluvmusic5876]

@@anashiaidan Thank you so much for your kind words :D

[@kpluvmusic5876]

Q피디님 하나만 더 부탁드릴께요. 너무 어렵지 않으면 영어 제목 첨부해 주심 외국팬들도 좀 들어오실 것 같아요. 좋은 인터뷰 감사합니다!

[@kpluvmusic5876]

@halime yildiz Rica ederim!

[@user-ti1pd9sz7e]

진행자의 개인적인 생각을 많이 널어 놓아 부담이 되네요.. 상대방이 자연스럽게 대화를 많이 펼칠수 있게 진행해 주셨으면.. 수고 많았습니다~~^^

[@user-vz9vt5jw3p]

조성진님 감사합니다 ~~~💞

[@kimlee2946]

Coordinators 들이 가르치러 나온양 너무 말씀이 많습니다. Too bad to listen to them all the time.

[@bonaom]

김호정기자님 수준이 제일 높고, 딴 두분 조성진 인터뷰 하시는지 수다떨고 계시는지... 뭔 본인 얘기가 조성진씨 멘트의 5배 10배....매우 아쉽네요.

[@kpluvmusic5876]

**********(2)********** Q: He must be a very famous person. Would you mind writing his name down here on this piece of paper? I am dying to find out. SJ: He must be a little embarrassed to say he taught me. [Ladies continue to laugh] I told him if I ruined the concert, I would say he taught me, but if I did well, I would say I taught myself. [Laugh] Q: [Translator: Two ladies talk in turn. I can't tell who is who] I am even more curious now. I think we can get him to spill the name if we push him a little more. You go to his concert Sunday. Yes, I do. I will be watching him conduct with high expectations. Shall I guess who it is? Kim: That's right! I am in charge of Seong-Jin Cho's past, and the producer is signaling me to ask about his history. Q: That's right; you are the one who knows his past well. Kim: Is she right that I know you well? SJ: I guess you do. Kim: I looked up my past interviews with you. You were participating in the Junior Chopin Competition in Mosco. [Translater's note: A 14-year-old South Korean middle school student won first prize at the 6th Moscow International Frederick Chopin Competition for Young Pianists. It was Seong-Jin's first international competition, and he was the youngest winner ever.] SJ: Yes. Kim: That was when I started interviewing you. SJ: The first time that I sat down and met with you was in March 2009. Q: Reporter Kim, you don't remember that?![Laughs] Kim: I guess I am somebody (since SJ remembers it)! [Laughs] SJ: It was around in March or April. You interviewed Mr. Myung-Whun Chung and me together. Kim: Ah, so that was the first time then. SJ: You probably came to see me in October 2008 in the Mozart Hall after the competition was over, but we only greeted each other. Kim: Yes, you are right when you played "Appassionata" there. SJ: Nope, incorrect. That was January 2010. [Laughs] Kim: My bad! SJ: In October 2008, I played two Scarlatti Piano Sonatas, Beethoven Sonata No. 7, Debussy Suite Bergamasque, Chopin Ballade No. 4, and Chopin Heroic Polonaise. Kim: Chopin Ballade No. 4, and Chopin Heroic Polonaise, I remember. Q: As you see here, the repertoire you play changes daily. How do you remember all that? SJ: Nothing unusual about that. I can remember it because those were my programs. Kim: I always introduced and remembered Seong-Jin Cho as a budding artist who learned a new score at an incredible speed and performed it on stage. However, I also remember that you didn't like to be introduced like that. You asked me not to use the phrase "learns at an incredible speed" about you. [Maestro Myung-Whun Chung had also mentioned it, comparing SJ to himself as a pianist LOL] SJ: I don't know if that can be anyone's strength. Regardless, I didn't feel I was exceptionally fast. One thing that helped my career was playing with Mr. Myung-Whun Chung in May 2009 for the first time. It was Chopin No. 1. Since then, I had performed seven different concerts with the Seoul Philharmonic Orchestra (where maestro Myung-Whun Chung was the Music Director and the Chief Conductor). Kim: Including Ravel. SJ: I performed Chopin No 1 in early May, "Emperor" in late May in Masan, Ravel in December, Prokofiev No. 3 on May 5, 2010, Beethoven No. 4 in October 2010, Mozart No. 20 in January 2011, Tchaikovsky No. 1 in March 2011. That is already seven concertos right there. Because the maestro told me to, I had to learn, and now they have turned into valuable assets. When an orchestra asks me to play a particular concerto, I don't have much difficulty doing it because I have played it before. Q: You were very young at that time. SJ: I was in 9th or 10th grade then. Q: There aren't many privileged pianists who are given a chance to build up their repertoires by performing with Maestro Myung-Whun Chung at such a young age. Kim: Director (Maestro) Chung literally handpicked him there. SJ: I am so grateful. Kim: He was very proud of you. You were already his favorite pianist then. I interviewed you and Director Chung together, and I remember he asked you to play something. Do you remember? What did you play? SJ: I didn't play anything. [Laugh] He wanted to see how big my hands were and asked me how far my fingers could reach from Do in the key of C. Debussy La Mer was in full score in the room, and he told me to hit just a few bars. Kim: Director Myung-Whun Chung said you could have played other instruments besides the piano and asked you about it. I know you played the violin when you were little. SJ: Yes. Kim: I was stunned. After that, Director Chung continued to have you on stage. I said this before, too; you had to do so many concertos, and it only took you a couple of months to learn the score of Tchaikovsky Concerto No. 1 before playing it on stage. I was stunned to hear that. SJ: There are various types of people out there in this world. Some people can even pull that off in a couple of weeks. Having it done in two months shouldn't surprise anyone anyway. [He only needed a couple of days to learn and play Beethoven trios Op 11 and Op 38 at the Solsberg Fesitaval per DG's podcast published a few months ago from today 12/29/20 LOL. ] deutschegrammophon.podigee.io/ Q: How many concertos does pianist Seong-Jin Cho feel comfortable with playing? SJ: Would you tell me what you mean by "comfortable"? Q: Ones you need less preparation time for. The pieces you know by heart and can play them upon request without notice. SJ: I need at least a week, no matter what the piece is. I can play Chopin Concerto tomorrow because I have played it many times, but I still need at least a week to feel at ease playing it. [Translator: I remember hearing him saying in an interview with other musicians a couple of years back that he had to play Rach No. 3 on short notice in 5 days. He hadn't played it for several years, and he had to use his entire practice time for that piece during that period. If I remember correctly, he played Rach No. 3 # in Munich, replacing Daniil Trifonov. SJ just said his second day was better, but I remember reading that he had received a standing ovation.] Q: You mean the pieces that you have played before? SJ: Yes. Q: There was an incident where Maria Joao Pires was the soloist playing with conductor Riccardo Chailly. Maria Joao Pires was prepared for Mozart No. 21, but when the introduction started, it was No. 22. SJ: It was No. 20. [LOL] Q: She didn't have the score there. She played it spontaneously. It is also interesting that it was captured on film and preserved. Kim: "There are various types of people out there," you know! So in a previous interview with me, you said your goal was to complete 40 concertos in 10 years. It's been ten years since then. SJ: Someone there had pipe dreams! [Ladies Laugh] The purpose of having goals is for them to be set high. [Ladies Laugh] Kim: Another thing you said was you were ready to play ten encores at any time on any given stage. SJ: The problem with that is all of them are similar. I need to add more repertoires, but it's not easy. I focus on the main program at recitals and end up repeating the same encores. It's my laziness to blame, and I will have to live with it.

[@user-he9xs8zn9y]

좋은 인터뷰 감사합니다.^^

[@kpluvmusic5876]

여기 대댓글에 번역 좀 달아 달라고 성진님 외국팬이 올려 놓으셨는데 디토클래스에서 자막으로 번역 올려주시는건 불가하겠죠 ? 이거 계속 주문만 하게 되내요 ^^

[@milkeyanna]

🌹💕

[@kpluvmusic5876]

**********(6)********** Q: I thought you would say Paris. SJ: I like Paris too. I like London's uniqueness being a mixture of the European elements and the modern. Q: Is it due to old castles and the stern appearance of architecture, maybe? Seoul is like that too. It has castles, sternness, and also modernness. [Laughs]. When you travel for your concerts, you don't have much time to tour and enjoy the trip, do you? SJ: I don't have much time. As I said, I am getting more nervous during my performance, so I try to be more prepared, and it takes away from my spare time. Q: When you go on a business trip, for example, I was in Berlin to go to a concert. I had breakfast when I woke up. I then stopped by at one place and returned to the hotel to nap before the concert. I went to Sokolov's concert in Firenze. You know there is a lot to look at in Firenze. I walked around a lot, had a good dinner, had a glass of wine. However, when the program finally began at 9:00 pm, I started dozing off. [SJ laughs lightly] I knew for a short moment that the encore was "Moment Musical," but I continued to sleep. I had a good sleep all the way through. [Laughs] Even as a member of the audience, you may end up not enjoying the concert due to jet lag. That makes me think it is imperative to manage jet lag. No matter how young and healthy you may be, you have to be in good physical condition to give it your all. How do you handle jet lag and all? SJ: I try to sleep during my flight. Let's say that the flight lands in the morning; of course, there is no time difference within the European countries, but when I go to the US or come to Asia and the landing time is in the morning, I sleep no matter what. I don't sleep when the landing time is in the afternoon. Q: Do you usually fall asleep right away? SJ: It varies, but overall, I sleep well. I use earpieces and sleep masks. Q: When you say you are nervous, do you mean you are nervous or just excited before the concert? SJ: It's both. Due to my desire to do well and play well, maybe, I am more nervous than I should be. Q: How do you get it under control when it happens? SJ: I have said this before too. There is no solution to it. You just have to practice more. Q: [Two ladies talking to each other. I can't tell who is who] I have heard this a lot; for us, it's nothing more than just watching one person perform, but that person is put in the spotlight and pressured to show not only something new but also quality performance each time. It must be a real pressure. Because you are Seong-Jin Cho, the great, I thought it would be more of a thrill. You are naive. It is because you see people waiting for your stage. And also not just because of that but I started thinking about that when I saw your performance. I wanted to ask you this; you are undeniably a public figure, and your life gets consumed even when you are not doing anything. After giving a concert, you get analyses and reviews from different sources. There are even unauthorized hidden recordings taking place. Your live performances get on KZbin without your knowledge, and you start to wonder how they did it? You are merely in your 20's, and you already have your biography for children published recently. That is where you stand now. You might have anticipated winning the Chopin Competition when you were a child, but I don't think you would have expected the fame that would follow you. You might have accepted it inevitably as a pianist. Would you tell us how you feel about it, how you digest it and deal with it? I would like to hear your honest answer. SJ: I think the expectations of the pianist have changed a lot since the 1960s or 1980s. Back then, your only job was to perform. Now, they say SNS takes an important role. Frankly, I wouldn't say I like it. I am not too fond of the fact that pianists or musicians are regarded as a commodity. I feel skeptical about it, but I will still have to accept it to a certain degree if I wanted to continue performing the way I want. Honestly, I don't consider myself a significant public figure. I was pleased that nobody recognized me today. It makes me feel uneasy when someone recognizes me. Q: Don't you think they just pretended not to recognize you? It's a possibility. SJ: I was pleased that no one approached me and tried to talk to me. So not much of an inconvenience there. The world has changed, but come to think of it, I still live a life like the pianists from the olden days; I give concerts, and I practice. My manager or my record label can handle all other external parts. When requested, I will do it if I can. I live a simple life. Q: You have your official Instagram site. I know that you are not the one who is putting up the posts. SJ: My record label and my managers, specifically my US and French managers, take care of it. They ask me to send them pictures of me at concerts. I send them, and they post them. Q: The person who posts them told me that. [Laughs] I am glad to hear from you via those postings. Some pianists are majorly into that. Like you said earlier, performers these days have too much external work to do. SJ: I am lazy, which is one of my shortcomings, and I admit it. Director Yong-Sik Lee got mad because I didn't respond to his Kakaotalk messages(a Korean message APP). [Ladies laugh]. Q: The gentleman over there is not mad at you. He would not dare be mad at Mr. Seong-Jin Cho over stuff like that. [The other lady Laughs] Are you coming over, Director Lee? Q: Director Lee is over here with us now. Director: Since I work for the company, I can say this. Outside the Music, some things like publicity, letting people know, of course, count. If you keep it to yourself, it becomes your diary. It is imperative to relay it through fine media. The current trends or marketing trends reach younger people more. That is why you see more things on social media. [Director Lee explains how artists should communicate. Not just for their fans, artists can reflect on their thoughts by overserving the communication aspect. Director Lee explains how SJ influenced DG's perception toward Korean pianists in general and how DG is now more interested in Korean musicians whether or not SJ acknowledges it and SJ calls himself lazy.] Q: Would that be too much to say he is not lazy but prioritizing things to do by separating "what you should do" from "what you should not do"? Director: You will have to ask the artist(SJ) if he chooses to be a layperson, an artist, or a star. [SJ laughs] Q: I guess Director Yong-Sik Lee's asking you(SJ) a question [Q says in a joking manner]. Director: My response will depend on your answer. Q: It sounds like you want to be careful answering that. Are you are a layperson, an artist, or a star? SJ: I don't know. [Laugh] I can say I am not a star. What I was trying to say was I am lazy in communicating by text messages. Q: Isn't that your tendency rather than laziness? SJ: I prefer to talk rather than to text. Q: That's what I am saying. [Q talks about how she grew up listening to Music through albums and how people should buy albums if they love the artist.] [Director Lee talks about how DG selects its artists, and musicality is the primary factor. In the 2015 competition, DG sent out their producers to receive reports about who was moving up to the next rounds, etc. Lee explains how SJ is one of the largest contributors to DG in terms of selling albums and how SJ is a big influencer whether or not he likes it. Classical Music only occupies 4% of music album sales in Korea, which needed to be expanded.] [Q states she was sad to see how the number of albums sold could be the standard for evaluating the artists. She talks about how enormous the classical music market and its buying power is in China.] [Director states China has more artists related to its enormous market size, producing great artists. Although the Korean classical market is not large globally, it is encouraging that SJ is leading Asian classical Music.]

[@pollytan6030]

Thank

[@kpluvmusic5876]

@@pollytan6030 Any time :)

[@berlin9934]

ㅠㅠㅠㅠ

[@user-jd3kq2sq6g]

피아니스트가 되어주셔서 감사합니다❤❤❤❤❤

[@shaykim1592]

42:13

[@kpluvmusic5876]

**********(3)********** Q: It's alright. I can forgive you for doing that. [Laugh] Kim: As you mentioned recently, you seem to play the encores off a list, such as Debussy Moonlight, Image No 1 and No 2, or Mozart Sonata, the second movement. You seemed to have them set in place. I wonder if you wanted to play the encores to near perfection, and that's why you played the encores within the range of those repertoires. SJ: I don't practice for the encores, so I played what I could. Provided that, I do play other encore repertoires, too, such as several Chopin Nocturns. When I counted them, it was more than ten songs altogether. I am having an issue with the tours in Korea where I give two concerts in the same city as in Seoul or Tonyeong, and where the same people could be there in the audience listening. I am a little pressured that I have to play different encore pieces. [Ladies Laugh] Q: We love them all, even if you repeat the same encores over and over! [Ha ha] Kim: That should have been my line! SJ: So I think maybe I shouldn't play encores at all! [in a joking tone] Q: How do you decide which encore songs to choose? On the spur of the moment? SJ: Yes, ones that I CAN play. For example, when I play concertos, I try to play an encore related to that main piece and not far apart. I tried to play an encore as a continuation. I recently collaborated on Prokofiev Concerto No. 2, and I couldn't play a fast piece as an encore. All the energy was gone, so I played a slow song. [Music] Q: This was No. 2 that you played at the BBC Proms, correct? SJ: Yes. Q: That piece really takes up so much energy as if you were playing a percussion instrument. SJ: It does not run long, but it has lots of notes. Q: Yes, it has lots of notes. Speaking of Prokofiev Concerto No. 2, someone who watched your concert there stated that your interpretation was new and fresh. Are you, as a pianist, able to share with us how your process works in structuring and interpreting piano works? I am curious to know. SJ: There is nothing special. I didn't intentionally try to play fresh. I just played what I had in mind; why did he put a sforzando here? Why did he put the same sforzando on the next one? Since Prokofiev wouldn't have written these sforzandos with the same intentions, where should I stress the climax more? Just those types of simple things. I also pay attention to and play along with the tempo stop, the concept, the vibe, and the characteristic. I make my way through those things. Q: You also once said that you try not to listen to others' recordings when you have a work in progress and try to go with your interpretations. How do you assure yourself if your particular interpretation is proper, for lack of better words? SJ: I never have assurance. Once you can assure yourself, from that point on, you end up having no improvement. I don't listen to other albums a lot these days; I mean only when it comes to the piano. I used to all the time before, and I still remember how others played. I listen to my favorite albums but not that much. You may accidentally end up imitating them when you love their work. I try to avoid that. Kim: The scores are always the golden rule for you as a pianist. As you mentioned about sforzando, you analyze the score, find a way from the score, and stay faithful to the score. SJ: I think that is a normal process for any pianist. Q: I think so too. [Laughs] You play with Goerne tomorrow. It's a vocal score. So you have a score with notes and the language. What is your approach in studying those types of scores when you take the first step into the piece? SJ: In Schubert's lieder, the piano has more distinctive colors as an accompaniment rather than having its voice. Depending on the lyrics, Goerne interprets it differently. For example, when the lyrics are dramatic, he sings it with the up and downs, and I follow that. I hit the keys according to individual vowel variations in the German language. Accompanying a vocalist isn't that demanding for me. Q: I find it fascinating. Accompaniment requires sensitivity. You see, some conductors specialize in concertos, but other conductors also conduct operas. I think that is a different area. When you play chamber music, you're required to synchronize with other instruments. Some instrumental players are good at accompanying vocalists. I was almost shocked when I saw the way Mr. Myung-Whun Chung collaborated with none other than Bartoli and how he was able to synchronize with her. I am sure it is a lot different from synchronizing with instruments. Primarily, you will need room to breathe. [ Translator: Norman Lebrecht said he found himself stupefied in wonder at the empathetic piano playing of SJ, an artist of a sensitivity way beyond his 25 tender years, and he actually stole the narrative in the finest moments of the five-star album Goerne and SJ recorded together. www.ludwig-van.com/toronto/2021/03/26/lebrecht-listens-new-album-might-change-mind-lieder/ ] SJ: Accompanying a vocalist can be unique in that sense, yet by the same token, it can also pose a challenge. They may breathe differently in each part, so it requires tremendous concentration. Where will they put a rubato today, or where will they take a breath? You will have to listen to it attentively all the way through. When you play with a violinist, for example, you often go back and forth sharing the spotlight and sometimes take the lead, but for vocal works like Schubert's lieder, you will have to listen with sensitivity and subtlety. I think the piano can turn the tables around. For example, if you play in a slow tempo while accompanying Goerne, he will have no choice but to follow along with your tempo. There are a lot of repeated notes like triplets and such. You can also create a musical vibe with the repeated notes at your will. It's fun for me to accompany a vocalist. Q: Pianist Seong-Jin Cho accompanies a vocalist, and in fact, this program's repertoire is not even the easiest among Schubert's works. It's not a universal type of repertoire. SJ: It's a tough piece. Q: In the past, in Germany, you played (Hugo) Wolf's song too. SJ: Yes, I did, but in Vienna. [LOL] Q: Goerne is highly selective of the pianist he performs with. I suppose the vocalist's role is to layer on top of what the pianist lays out and lead synchronization. Goerne also performed with Daniil Trifonov but ended up recording his album with Seong-Jin Cho. SJ: [Seong-Jin hastily interferes] No. No. He also released an album with Daniil Trifonov 형 [SJ calls Danil Trifonov as 형(Hyeong), referring to him as if Trifonov were his older brother. 형(Hyeong) is a word used to show affection and respect. A far as I know, they have been good friends since the 2011 Tchaikovsky Competition.] Q: You called Danil "형" LOL!! Q: Goerne is like the prince in German lieder. He had known about you, handpicked you, and now you tour together. Kim: Do you spend a lot of time studying the German language, particularly for lieder? Q: I wanted to ask that too. Kim: You feel more comfortable with French, don't you? SJ: I am not good at German. I only tried to learn what they meant. Because they are all poems, even people who are fluent in German may not understand them well. I can understand half of what I hear if it's an easy topic, but I can't speak it. I don't know whether it's because I learned it when I was older or because I don't have linguistic talent. Q: How did you meet with Matthias Goerne for the first time? SJ: He performed Winterreise with pianist Andsnes in Paris around January 2017, and I went to the Theatre of Champs-Élysées. Goerne has a friend named Didier; he is also my best French friend. Didier de Cottignies, who used to be the head of DECCA, introduced me to him. He knew already who I was. He asked me for my phone number. I gave my debut stage at the Carnegie Hall that time, in February 2017, and I got a call from him 4-5 days before my recital; he asked about my schedule in April 2018. He offered me to work together. We performed together in Vienna, Paris, and London. Q: Those who read the Club Balcony magazine know about this story. He selected you, but it could have been a sort of adventure for him to expect the excellent outcome, although, of course, he had listened to your performance before. Someone who went to your concert in Vienna told me that he was impressed; he would have never known if Mr. Seong-Jin Cho could interpret lieder at such a high level. That person is someone with an ear for music. I wanted to hear an opinion from the perspective of someone who knows music well. He said you are an outstanding pianist for interpreting songs, and he was surprised to see how young you were. Matthias Goerne had a much longer career in Europe and was probably more established there than you were. I want to say he could have contributed to you being recognized more on the European music scene. On the other hand, here in Korea, you familiarized Matthias Goerne and a genre like lieder to the younger generation if those people got into classical music through Seong-Jin Cho. Goerne is regarded as the No. 1 vocalist for German lieder, with no exception in Korea. Nevertheless, as far as I know, people who haven't heard about him before are buying tickets now and making his concerts sell out. Kim: Seong-Jin Cho is in the center of people's minds these days, so it could certainly be a Seong-Jin Cho effect. Q: The public tends to listen to Music following Seong-Jin Cho's repertoire selection. What do you think about you playing such a role? Many people are entering the door to classical music because they are attracted to Seong-Jin Cho as a person. SJ: I wasn't aware that I was playing that role. [Ladies Laugh]

[@user-wn1uw6po6f]

1:08:04

[@berlin9934]

10월에 만나요

[@user-gt7kd1wg3o]

15:40

[@infjinfj2616]

나는 어제 일도 기억이 안나는데 몇 년 전 몇 월까지 어떻게 다 기억을 하지?

[@kpluvmusic5876]

**********(5)********** Q: Speaking of the competition, I need to ask you this. You talked about flair and guts. Next year, five years after the last one, around this time, there will be the 18th Chopin Competition, and we may have a new winner. Would you give some advice to those who are participating? SJ: I have no answer on how to win the competition. It's harshly cold in October in Warsaw. So I had a cold. You have to bundle up. There aren't many great restaurants nearby. You will have to use a car because you have to eat well. The hall resonates more than you may expect. You don't have to play loudly because the sounds travel well in that hall. I can say that much. Q: What do you think you will be doing during that time next year? SJ: I will be performing at the opening concert of the Chopin competition. Q: Are you able to stay and watch the live performances there? SJ: No, I can't because I will have to come over to Korea right after. Q: What is your program during the opening concert? SJ: I am afraid it's not disclosable yet. Q: Isn't it Chopin? It must be Chopin. SJ: No, it's not Chopin. Q: Are you sure? What is the reason? They always . . . SJ: No, not many play Chopin there. Martha Argerich played Schumann Concerto. Jurors or previous winners usually play there. Kim: We saw your steps one by one; a collaboration with the Berlin Phil, an invitation from the Carnegie Hall, and re-invitation from the Carnegie Hall. Are there any other specific goals you set? SJ: None. Kim: Those types of goals do not interest you anymore. Did you hear back from the Berlin Phil? SJ: Yes, I did. Kim: When do you perform with them? SJ: It's too premature to tell you. Q: Time flies like an arrow. We have reporter Ho-jung Kim, an active journalist, who will be sent off for her night duties. This was part I. We will be listening to Beethoven's Pathetique Piano Sonata No. 8, the second movement, Adagio Cantabile, played by Seong-Jin Cho now. This will wrap up part I. We will be talking about more personal, intimate stuff in part II. We hope you come back next week. [Music] =Part II= [Music] Q: Hello, this is Q PD's Thank You For the Music, where people meet the Music, and the Music meets people. We have Mr. Seong-Jin Cho again today in part II, continuing from last week. There was a historical moment in Warsaw 4 years ago, October 18, 2015, which led us to meet here today. We meet Mr. Seong-Jin Cho through his concerts, interviews, and the media. Whenever Mr. Seong-Jin Cho meets with people, he leaves behind wisdom words that make people reflect on themselves. He recently said, "I am beginning to realize that it is more important to know what you should do than to know what you shouldn't do." It applies to us because it's true that we agonize over what we shouldn't do rather than what we should do. Provided that, we have many things that we are curious about and want to talk about. We will start over fresh in Part II. Last week, we mainly talked about his Music together with reporter Ho-jung Kim. We also spoke about Pianist Seong-Jin Cho's journey to this date. Now, we want to talk about more personal stuff concerning Mr. Seong-Jin Cho's present, future, how he is spending his time off, and what hobbies he has outside Music. Are you ready, Mr. Seong-Jin Cho? SJ: Yes. Q: I am most curious about this. If you had children of your own, would you teach them the piano? [Laugh] SJ: No. Q: You flat out say "No" rather than say it is up to them? SJ: If they want to get into music, that is fine with me but not the piano. Q: Do you feel it's too hard for you? SJ: No, not because of that, but because I consider myself lucky. I am not doing badly, fortunately, but I wouldn't let them play the piano. Q: When your father is extraordinary in his field, that can become great pressure for you when you can't outdo your father. People say you want to be nice to your children and let them go on a different path. Regardless, they can still be persistent or have real talent. SJ: Uh . . . I would still say no. Q: Do you think you are incredibly fortunate? SJ: Yes, I feel I am incredibly fortunate. Q: Isn't luck merely another word for ability? Don't you earn your own luck? SJ: Um, aside from your ability, you really need to have a stroke of luck on your side. There are countless people with ability, really lots of pianists out there that you wonder why they are not being recognized when you think they should be. Talent isn't all that it takes. Q: Sumi Cho [a South Korean lyric coloratura soprano known for her Grammy award-winning] also said the same thing. She said there are many people out there who have talent and love music. She also said that although she was always prepared, she still needed a droplet of luck. Being coupled up with some luck, she was able to make her way through. A book titled "To People Who Think Your Success Is Your Own Ability" talks about how ability isn't everything. SJ: It is not only limited to Music, but it is especially so when it comes to the piano. Q: Especially the piano more than any other instruments, you think. SJ: Yes. Because for the piano, you can't be employed as a member of an orchestra. You can only be an accompanist, a professor, or a music teacher if you are not a soloist. Pretty much, those are the only other three options you have. There are lots and lots of people who play the piano, but only a handful of people are fortunate enough to perform. Being talented and a good performer is the number one precondition, but you still need some luck. You should be in good health and stamina, enjoy traveling and have the personality that fits as some people don't like traveling. I think it is tough to make it all work. For those reasons, I can't say yes to the piano. Q: In that aspect, do you have good stamina and not mind traveling? SJ: I think I fit into the occupation. If I were reborn, I would still wish to become a pianist. Although other people may not like the idea of having free time while others work, I like this aspect of being a pianist; while others rest, I can still practice. I can travel during the non-peak season. [Ladies laugh] You can get cheap flight tickets. Q: So, you have those precise reasons. Does your to-do list include vacation trips solely for traveling purposes? SJ: Yes, I do still travel once or twice a year. I can't take off on vacation often because I don't have time. Q: Where were you traveling this year? SJ: Um . . . I WILL be traveling this year (as in the future tense). Q: Where are you going? SJ: [In a playful tone] It's a secret! Q: He is a man with lots of secrets, and we can't seem to make him open it up. [Laughs] A mysticism concept. [Laughs] On the other hand, we should understand this in the hope that this stormy fanship and excessive interest toward him from his fans do not go over the limit. I heard this from the same person who went to his concert in Vienna; before the concert began, someone took pictures. SJ: Yes, there was a man who took some pictures. Q: [Two ladies talking. I can't tell who is who] Because the man was Asian, some people took it wrong that this man was his Korean fan, and people made remarks to despise Koreans. We all hope to keep him protected from an incident, and for that reason, [Toward SJ] I am not going to ask where you are going for your vacation anymore. You are not going to Antarctica, are you? I am sorry that I have to bring up Antarctica here again [SJ had mentioned in another interview that he wanted to travel to Antarctica]. Antarctica sounded very exotic, but I still wondered why you chose Antarctica out of all. You may want to go to Panatogina, Utah Canyon, Uyuni desert, Sahara Desert, a place where you can see an Orora or something like that. You were so specific when you mentioned penguins. SJ: There are two reasons. Antarctica is beautiful, not shy of other beautiful places, and it is also a tough place to go to. You have to go through at least three weeks of harsh conditions. I want to experience that challenge. The other reason is that it is melting due to global warming, and I would like to see it when it still maintains its most incredible beauty. Q: You say before it's too late. Among all the places you traveled to, which did you find the most beautiful? SJ: The standard of being beautiful differs. When it comes to the historical beauty of the city, I like Firenze a lot. I like Switzerland for its beautiful scenery of nature. Among cities, I love London.

[@user-of9eu9ce9k]

39:40

[@mymuse-rkive6551]

I wish there were subs in English! :(

[@user-nd8wg3nu3m]

목소리.. 오엠쥐

[@user-jd3kq2sq6g]

중국은 랑랑과 유자왕만 있고 일본은 야마하라는 브랜드와 하마마쓰 국제콩쿨이 있어 큰소리 치는거죠 그러니 얼마나 외롭고 힘들지요...

[@user-fn2ey7xm2x]

유튭인데 화면이 전여 없네요 이방송 팟캐스트 라디오에도 똑같은 내용의 방송이있는데 혹 영상이 있나 들어와 봤는데 없네요

[@froggy8919]

54:46

[@user-yc6td8wp4u]

비밀이많네

[@berlin9934]

잘수가 있나 ㅡㅋㅋㅋㅋㅋ어이

[@empty4708]

37:22

[@kpluvmusic5876]

그 대관령 연주 영상 있으시면 따로 올려주실 수 없을까요?

[@lilyoh4642]

kzbin.info/www/bejne/pqSoXpWPn7mAsLs

[@lilyoh4642]

이거 같은데요

[@kpluvmusic5876]

@@lilyoh4642 아 감사해요. 근데 너무 짧네요 ^^

[@kpluvmusic5876]

@@lilyoh4642 21살에야 세계적으로 알려진게 이상하구만 자신은 재수가 좋았다고 .

[@user-fn2ey7xm2x]

이 방송 팟캐스트 라디오로도 들을수 있는데 더 자세히 나와있답니다 2부로 나누어져 방송 합니다

[@AntonioTotaroGuitar]

i only able to think> Pizza Pasta Mandolino cibernetico

[@user-zc4jz2tp5w]

에고 20번인지 21번인지도 모르고 ㅜ하아 ㅜㅜ

[@berlin9934]

누가 시러요 ㅡ누른거?여기 오지 말자 ㅡㅌㅌㅌㅌㅌ

[@TheOseonaege]

아쓰....광고 너무 자주 넣어서 듣다가 나가요 빠이빠이 ~돈 많이 버세요~~

[@user-jd3kq2sq6g]

아,톈진 줄리어드...가 있지요

[@KimPaulus]

내 생일 때 한번 와서 연주 해주셨으면 좋겠다...

[@user-ep5kj6yy8d]

생일때 가면됨

[@user-jd3kq2sq6g]

백건우 선생님도 70이 되니 조금 알겠다고 하셨습니다 힘내세요!!!😍😍😍😍😍💯💯💯💯💯

[@user-fv2xr9ke2u]

다음에는 선우예권님도 초대 해주세요!

[@KimPaulus]

조성진한테 쫄려서 못 나올 듯....

[@thelittleoneh4881]

엥 여기서 갑자기???

[@whynot1731]

사회자,패널은 조성진씨 인터뷰라는 사실을 명심해주시기를! 말도 정리하고 말수도 줄이고 핵심을 걸러서 인터뷰하시기를! 아마도 조성진씨 팬들은조성진씨 목소리를 더듣고싶어 할것입니다... 사회자가뭔가 정리도 안되고 수다떨듯이 말씀하는게 걸리네요 숨소리,웃음소리, 목소리 가다듬지않고 쉬는타임주지않고 막 수다떠는 느낌이군요...ㅠ

[@eun-hyesarasukkye393]

성진님보다 인터뷰 하는여자가 주첵스럽게 말~이많네요. ㅎㅎ

[@user-jd3kq2sq6g]

뮌헨도 한국의 모든 음악적인 일들은 이영조 원장님 작품입니다 이영조 원장님께 한국인으로서 음악하는 사람들은 무조건 감사해야해요 매회 매진이니 감사하죠 하나님이 한국을 특별히 사랑해주셔서 가능한 일이었어요 나도 조성진 연주회 좀 가보고싶다....😍

[@ninik97]

기자분 (우리말)발음 한번 거슬리기 시작하니까 계속 신경 쓰이네요.

[@pjgfshbvcc8699]

고마워요음악. 과 땡큐포더뮤직. 의 차이는 무엇이란 말인가? 영어 타이틀은 좀 있어보여서?

[@user-gp6jt3yd9f]

ㅁ

[@TheOseonaege]

광고너무 많이 넣으셨네 ㅉㅉ

[@user-rq1dz5bc6v]

아 ~ 여자들 포장된듯한 웃음소리 너무 크고, 말도 많고 듣기 힘들어 나간다

[@user-ok6qy2fk9o]

조성진 님 연주를 듣고나서 제 연주를 들어보면 제 자신이 넘 쓰레기 같습니다

[@user-dd4uq3xc3r]

ㅎ 여기 많은 사람들이 자괴감 느끼겠지요 하지만 그런 표현은 잘 안 쓸것 같습니다 ㅎㅎ

[@sykang901]

ㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋ 쓰레기라뇨 .. 그런데 그 자연스레 겸손해지는 마음 저도 뭔지 알죠...ㅋㅋㅋㅋ

[@Augustine_Lee]

조성진 님 연주를 듣고 나면 제 손가락과 제 피아노와 제 연주에 응?!!! 이런 생각만 ㅋㅋ 당연한 차이겠지만요

[@user-ok6qy2fk9o]

@@Augustine_Lee 성진님은 스승인 미셀 베로프와 한 곡을 두번 이상 레슨한적도 없었다네요 ㅡㅡ 나같이 평범한 사람들은 나가죽으란 건가..

[@user-ul8sw6ky9x]

조성진님 연주를 너무 좋아하지만 여기 답글 쓰신 분들도 멋지십니다. 음악을 사랑하는 분들이니까요.

[@user-jd3kq2sq6g]

여러가지 평론...가장 견디기 힘든 모욕은 "한국인 주제에"인겁니다

[@eunah3]

맞습니다. 제 워싱턴 DC 독주회 (케네디 센터) 후 신문에 review 가 실렸는데 비평가가 제 국적이 South Korea 인것을 부정적으로 언급했어요. 30년도 더 지난일이지만….내 연주를 비평해야할 사람이 제 국적을 비꼬는 듯해서 참 씁쓸했어요.

[@rememberso9078]

33:55