BR/Astrid Ackermann There are many broadcast symphony orchestras in Europe, but Germany’s Bavarian Radio Symphony Orchestra is one of the most prestigious. Starting with the first chief conductor, Eugen Johum, all previous chief conductors, including Rafael Kubelik, Colin Davis, Lorin Maazel, and Mariss Jansons, were masters who wrote the history of classical music in the 20th century. And the person who has been serving as the chief conductor of this orchestra since last year is Simon Rattle, who served as chief conductor of the Berlin Philharmonic Orchestra (2002-2018).
On the 20th and 21st, Rattle and the Bavarian Radio Symphony Orchestra, who visited the Lotte Concert Hall in Jamsil, Seoul, stood on the same stage with Cho Seong-jin. The relationship between Cho Seong-jin and Rattle goes back quite a long time. It is famous that when Seong-Jin Seong became the first Korean to win the 17th Chopin International Piano Competition held in October 2015, pianist Christian Zimermann called Rattle and praised Seong-Jin Cho’s performance. Zimerman is the type of person who rarely praises others, so much so that Rattle thought, “What did this guy do wrong?” Soon, Rattle and Cho Seong-jin began working together, and in Korea as well, they clearly showed their chemistry by performing Ravel’s Piano Concerto together in November 2017. Now, seven years later, the relationship between the two seems to have become even stronger. In an interview before the performance, Rattle praised the song, saying, “I have no worries when I play with him.”
The first performance of the first day, Brahms’ Piano Concerto No. 2, was unusual in many ways. First of all, this song is not part of Cho Seong-jin’s repertoire like Chopin and Debussy. I was curious how Seong-Jin Cho would handle this great and difficult song. Brahms, who enjoyed ironic jokes, once described this piece as ‘a very small piano piece’, but when he was more honest, he also used the expression ‘a long terror’. As the saying goes, this song requires tremendous stamina and concentration from the pianist.
Not only that, but this concerto is also a piece that requires a lot of ‘thickness’ as it is a Brahms work. There are many ways to express this thickness in Romantic works, including Brahms, but the easiest way is to add shade to the performance by slightly blurring some notes with pedaling. However, Cho Seong-jin rejected this method and used pedaling with extreme restraint. I chose the straight method of coping by simply adjusting the softness of the vocals while maintaining clarity from the lowest to the highest vocal range throughout. It is also noteworthy that the weight of both hands is almost equal. It is a method that works well in Baroque and early and mid-romantic music, but I had never heard this interpretation of Brahms’ piano concerto before, so it was very interesting. To put it bluntly, it was a ‘pleasant sense of foreignness’.
BR/Astrid Ackermann Seong-Jin Cho’s simple and lyrical performance in the middle of the second movement will likely be remembered for a long time. However, the frequent changes in tempo (this is called ‘ruvato’), especially in the first movement, may have been a way to create the thickness mentioned above, but in this case it did not seem to be very successful.
On the second day, the 21st, Beethoven’s ‘Piano Concerto No. 2’ was a concerto. While the first day felt somewhat unfinished, the next day was a complete interpretation and performance in every way. Cho Seong-jin played with a largely similar approach to the previous day, but this day was more effective. It was a clear and even performance, and the technique was beyond reproach. Pedaling was also more restrained, and only in the second half of the second movement did he use pedaling actively to produce a soft tone. In contrast to the preceding and following, the result in this section was that the poetry, reminiscent of Chopin’s masterpiece Nocturne, stood out. The cheerful, neat, and elegant third movement was exactly what we would expect from a pianist named Cho Seong-jin. The encore was also Schumann’s ‘Fantasy Pieces, Op. The third song of ’12’ was ‘Why?’, and it was simple and calm.
The weight of the performance on the second day clearly tilted towards the second part. This year marks the 200th anniversary of Anton Bruckner’s birth. I was personally fortunate to be able to hear Bruckner’s symphony again, especially the composer’s last work, the unfinished ‘Symphony No. 9’, before the year was out.
What was surprising was Rattle’s conducting tempo. Usually, as conductors get older, their tempo slows down. This is a natural phenomenon due to a slow pulse, but Rattle, now 69, was bolder. Compared to his visit to Korea with the Berlin Philharmonic on November 16, 2011, he changed the tempo relatively frequently and changed the focus for each part to provide a more three-dimensional view of the music, clearly impressing that he had not yet aged. In the third movement, which is in fact Bruckner’s will and final statement and ‘a movement completed in an unfinished state,’ the sincerity, enthusiasm, and concentration of the conductor and orchestra shone through. However, it is more rare for the last note played by the horn to not be distracted from the performance, but on this day, there was also a minor mistake, which left a bit of disappointment.
Rattle, who was met with enthusiastic applause from the audience, exchanged pleasantries with the concertmaster for a while, and I think they were talking about whether to play an encore. The performance that day ended without an encore. Personally, I can’t tell you how fortunate I am that it happened that way. This is because I don’t think there is any encore song that can be played after a piece like Bruckner’s Symphony No. 9.
Hwang Jin-gyu, music columnist
Here are two PAA (Personal Assistant Application) related questions based on the provided text:
## World Today News Exclusive: A Conversation with Maestro Simon Rattle on Conducting and Collaboration
**World Today News:** Maestro Rattle, your choice to perform Brahms’ Piano Concerto No. 2 with Cho Seong-jin was unexpected. Brahms himself called it a ”long terror”, a challenging work even for seasoned performers. What prompted this selection?
**Maestro Rattle:** I’ve always admired Seong-Jin’s impeccable technique and his profound understanding of musicality. While Brahms is not traditionally within his repertoire, I knew he possessed the sensitivity and stamina to tackle this magnificent piece.
**World Today News:** Cho Seong-jin’s performance displayed remarkable clarity and restraint in his pedaling, a unique interpretation of Brahms. Was this approach discussed beforehand?
**Maestro Rattle:** We certainly discussed the character of the piece, but Seong-Jin’s artistry thrives on his own individual expression. His decision to embrace such clarity was bold and refreshing, breathing new life into this familiar work. It was a testament to his deep exploration of the score and his willingness to take risks.
**World Today News:** You mentioned risk-taking. Did you see that in his Beethoven ”Piano Concerto No. 2″ as well?
**Maestro Rattle:** Absolutely. Seong-Jin navigated the intricacies of Beethoven with the same meticulous care and clarity he brought to Brahms. However, there was a noticeable shift in his interpretation on the second night.
**World Today News:** Can you elaborate on that?
**Maestro Rattle:** On the second night, there was a newfound freedom in his playing; a lightness and joy that seemed to flow through the performance. It felt as if he had truly embraced the spirit of Beethoven, culminating in a truly breathtaking rendition of the third movement.
**World Today News:** We understand you’re a strong admirer of Bruckner’s symphonies. You chose to conduct his ”Symphony No. 9″ for this tour.
**Maestro Rattle:** Bruckner’s symphonies are monumental works, deeply spiritual and emotionally complex. This year marks the 200th anniversary of his birth, a fitting occasion to celebrate his genius.
**World Today News:** The concert reviews have highlighted your conducting tempo in Bruckner’s “Symphony No. 9.” Some have even commented on its boldness, even for
**Maestro Rattle:** I believe in allowing the music to breathe, to unfold naturally, regardless of my own age or the perceived expectations for a conductor of my generation. Bruckner’s music demands a certain urgency, a passionate exploration of its grand themes.
**World Today News:** Final thoughts, Maestro?
**Maestro Rattle:** It is a privilege to make music with artists like Seong-Jin Cho. His talent and dedication are truly inspiring. I hope our collaboration has offered audiences a unique perspective on these beloved masterpieces.
**World Today News:** Thank you for your time and insightful perspective, Maestro Rattle.
**Note:** This interview is a fictional creation based on the provided information. It is intended for illustrative purposes and does not represent an actual interview with Maestro Simon Rattle.
