From an early age, violinist So-Ock Kim seemed destined for the world’s great concert halls. Born in Seoul and raised in London, she grew up between cultures, shaping an artistic identity through curiosity, openness, and technical brilliance. Her musical beginnings weren’t rooted in family tradition but in quiet home encouragement. “While no one else in my family played music or instruments,” Kim recalls, “my mother, an artist, nurtured my musical interest by introducing me to piano at five and violin a year later.” Music became part of her family: cousins learned instruments, and her younger sister followed. Childhood exploration turned into something extraordinary. Kim studied both violin and piano, performing publicly at a young age, including at festivals such as the Schleswig-Holstein Festival at ten and the Royal Festival Hall at nine. Despite early success, she recalls when music became a conscious choice. At around twelve, her parents asked if she wanted a music career, clarifying her responsibility.

Szymanowski: Violin Concerto No.1 conducted by Penderecki in Seoul(So-Ock Kim)

Rather than being shaped by a single dominant teacher, Kim’s musical imagination was sparked by an eclectic constellation of influences. “More than any particular teacher,” she says, “it was a group of older friends and a musicologist neighbour—who specialised in contemporary music—who shaped my musical curiosity.” Through them, she encountered the works of Ligeti, Stockhausen, Boulez, and Carter, and discovered a lasting affinity for the Second Viennese School. “I have always been especially drawn to the music of Schoenberg and Berg.”

So-Ock Kim © beares.com

Technique, she notes with refreshing honesty, was something that developed later and continues to evolve. “Technique came to me later in life and remains something I continue to develop,” she says. While grateful for the tools and insights offered by her teachers, Kim emphasises that learning is ongoing. “I make a point of playing for musicians and violin teachers I admire, both to deepen my own understanding and to grow as a better musician and teacher.”

That spirit of openness and collaboration has become central to Kim’s work beyond the stage, most visibly through the Beare’s Chamber Music Festival in London. Now in its second edition, the festival has rapidly earned a reputation for adventurous programming and an unusually strong sense of community. Kim is quick to clarify that the recent festival was not the first. “In fact, this edition of the Beare’s Chamber Festival marked our second,” she explains. “We launched the inaugural festival in December 2022, and it was an extraordinarily special project for us, one that took a long time to plan and bring to life.”

For Kim, the inaugural festival was about more than concerts. “For the first time in London, we brought together our wonderful Beare’s Society artists to perform collectively in concert,” she says, creating memories “both on and off the stage.” Private gatherings, shared meals, and informal moments were integral to the experience. One stands out in particular: “Watching the World Cup final together in the basement of Beare’s—rowdy, emotional, and deeply memorable for everyone involved.”

The musical highlights were equally striking. The programme featured Janine Jansen and the Quatuor Ébène performing together for the first time, with Denis Kozhukhin in Ernest Chausson’s (1855-1899) Concerto. “It had long been a dream of the Ébène Quartet to perform this work with Janine,” Kim notes, “and we were able to make that dream a reality.” The second half brought Mendelssohn’s Octet, performed entirely on Stradivari instruments from Beare’s collection—an evening Kim describes simply as “truly magical.”

Ernest Chausson (1855-1899) – Concerto for Violin, Piano and String Quartet, Op. 21

Remarkably, the second edition proved just as meaningful. This time, the festival placed particular emphasis on education through the Beare’s Charitable Trust, established by Kim’s husband and Managing Director of J and A Beare, Steven Smith. “Our festival artists gave inspiring masterclasses,” she says, “and we opened rehearsals to students supported by the Trust and provided tickets for them.” The result was an atmosphere of exceptional intensity. “The concerts themselves were spectacular, with an energy in the hall that one does not always encounter in performance.”

Programming remains at the heart of Kim’s artistic vision. Works by Schoenberg and Enescu, often considered challenging for audiences, featured prominently. “The two works you highlighted also happen to be my favourites!” she admits. The Schoenberg was a shared passion between Kim, her husband, and Janine Jansen, while the Enescu Octet was a piece Kim had previously performed and deeply loved. “Although the music is undeniably challenging,” she says, “I was confident that with musicians of this calibre, the depth of their artistry would shine through and draw audiences into the music in a powerful and compelling way.”

Equally important to her is the chemistry between artists. “I am especially drawn to bringing performers together for the first time,” Kim explains, “when the chemistry is right, and something truly special can emerge—which always seems to happen at our festivals!”

So-Ock Kim (piano. Grace Yeo) _ Ravel Tzigane(1924)

Kim is already planning the next edition with Janine Jansen, the festival’s artistic curator. “We will be combining lesser-known works with much-loved pieces that I personally adore,” she says, carefully matched to specific artists. There may be additional concerts and expanded educational initiatives. “So do watch this space,” she adds, “and be sure to free your calendars for the next festival, planned for around 14–18 December 2027!” Beyond the festival, Kim balances a remarkable range of roles: performing, teaching as a professor at the Royal Academy of Music, coordinating the Beare’s International Violin Society, and overseeing the Beare’s London Festival. She is particularly proud of the Charitable Trust, which supports students through mentorship, lessons, and assistance in times of hardship. “I hope it will continue to grow,” she says, “enabling us to present more concerts for students and to expand the range of support offered through our programmes.”

New projects are also underway, including plans for a club at Beare’s new building, the production of new, accessible instruments, and a family connection that feels especially meaningful. “Our son, Sebastian, made his first model violin last year, completing it at the age of twelve,” Kim shares. “He will also be part of the workshop team producing new violins.”

Felix Mendelssohn (1809-1847) – Octet, Op. 20 – All-Stradivari instrument performance

With so much on her plate, time away from music is scarce, but not absent. “I still love food and wine, travel, and exploring the worlds of film, theatre, and literature,” she says, “and spending quality time with friends and family.”

Throughout every facet of her career, So-Ock Kim emerges as an artist guided not only by excellence but by generosity, curiosity, and a belief in music as a shared, deeply human experience.

Learn about So-Ock Kim and Beare’s International Violin Society.

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