Korean-American pianist Julian Jaeyoung Kim made a bold statement with his debut CD, ‘Brahms Resonances’, featuring Brahms’ Piano Sonata No. 3, Op. 5, and the Variations on a Theme of Paganini, Op. 35 (Read our review here). Now, in his latest release, he turns his attention to Beethoven’s piano sonatas, in a long-term project to record all 32.
Julian Jaeyoung Kim
“The most challenging aspect is that everyone plays his music. And you know, there are so many comparisons everywhere, in competitions and concerts. And there are many great pianists who are known as Beethoven specialists; it’s always seen as a clear measure of the pianist’s ability to play Beethoven’s music. So I think that’s the most challenging thing.” – Julian Jaeyoung Kim
For the first step in his Beethoven journey, Julian has recorded a sonata from different periods of Beethoven’s creative life – the early Op. 2, No. 3, which shows the influence of Haydn, but also Beethoven’s own distinctive, youthful compositional voice; the ‘Waldstein’ (Op. 53) which comes from that pivotal period in Beethoven’s life, written post-Heiligenstadt Testament, when his music took on a more heroic character as he expanded his artistic vision and explored the expressive possibilities new developments in piano building afforded him; and to close, the ‘Les Adieux’, Beethoven’s only example of “programme music”, and a deeply personal piece, dedicated to his patron, the Archduke Rudolf, who was forced to flee from Vienna during the French invasion in 1809.
There is much to enjoy in this album, not least the colourful, crystal clear sound of the C. Bechstein piano on which the recording was made, together with Julian’s immaculate touch and clear appreciation of the structure and many nuances of Beethoven’s writing. But for me, the overriding feeling is one of joy: from the sprightly, witty opening theme of Opus 2, No. 3 to the celebratory theme in the finale of the Waldstein, which rings out of a very considered and introspective middle movement, the music sparkles, suggesting the pianist’s pleasure in playing it coupled with warm affection.
Julian Jaeyoung Kim Plays Beethoven’s Piano Sonata No. 26, Op. 81a – Movements II & III
Of course, there is seriousness too: poignancy and melancholy are never far away in the middle movement of ‘Les Adieux’, while in the Adagio of Opus 2, No.3, we hear a whisper of Schubert in the yearning melodic fragments and dramatic bass statements. And this is something which Julian does so well – highlighting the details which underpin the melody line and remind us that Beethoven was a composer of great symphonies and chamber music, echoes of which are evident throughout his piano writing.
Great care is also taken with articulation, phrasing and rests, though this never sounds contrived nor academic. This suggests careful study of the scores as well as listening to innumerable recordings (Julian admits to being influenced by Gilels, Barenboim and Pollini). By his own admission, Julian notes that it’s “hard to say I have my own approach, but I hope I can deliver clearly the different character of each generation of Beethoven’s piano sonatas”. And I think he achieves this in a recording rich in colour, sensitivity and musical thought underpinned by virtuosic technique. It is, in sum, an impressive start to Julian Jaeyoung Kim’s Beethoven journey, and I look forward to the next instalment with keen interest.
Ludwig Van Beethoven: Opus 2, No. 3; Waldstein; Les Adieux is released on the hanssler CLASSIC label on CD and all major streaming platforms
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