Chopin: Études (Opp. 10 & 25). Yunchan Lim, piano. Decca 4870122.
There is no doubt about it: Korean pianist Yunchan Lim is something special. The youngest-ever winner of the Van Cliburn International Piano Competition is on track for a career of historic proportions. Before it is even finished, we might well look back on this very recording as the legendary performance that launched an era. But there is enough to unpack here without too much prophesying, so I'll dive in.
To get it out of the way, this release won't (or shouldn't) replace anyone's top choices. (In my case, they are Maurizio Pollini [Deutsche Grammophon 4137942], Murray Perahia [Sony SK 61885], and Josef Lhevinne's partial traversal [available on Naxos 8.110681].) But this misses the point. While Lim's technique in these performances is impressive enough, his musicianship and imagination are simply astonishing. There is a rich magic of his own that no other pianist (at least none that I have heard) brings to these miniatures, not even after more than a century of recordings. Those who know my tastes will affirm that I typically lose patience with performers who take great "liberties." But while I sometimes prefer different interpretive decisions for these études than the ones Lim makes, in such instances he impresses me against my will. I don't find myself in this situation very often.
It is difficult to speak generally of drawbacks in these performances, because so much is context-dependent. Lim's often blistering tempi in the virtuosic stretches makes overwhelming effect in a piece like the Winter Wind Étude (Op. 25/11), but it comes across as rather breathless and rushed in Op. 10/2 (which is freakishly fast!) and the outer sections of Op. 25/4. His use of rubato can seem excessive in one area and yet justifiable enough in a subsequent area/repeat to mollify such first reactions (as in the outer sections of Op. 25/5). Passage-work sometimes seems too notey and detached (as in Op. 25/2), but in other pieces similar passages shimmer nicely (as in the mostly wonderful Revolutionary Étude - Op. 10/12). In every case Lim's artistry is breathtaking, and whole impressions can easily disarm isolated objections.
But there are two aspects where Lim rivals anyone in these études: tone color and the ability to bring out secondary voices. I heard many of these pieces with new ears as a result of the latter feature, notably Op. 10/5, which while quite speedy amazed me with its highlighted textures. But the moments of dazzling tone color are what won me over in so many cases. These require pianism of a high order, and Lim has it in heaps. The different shadings accompanying changes of harmony are spellbinding, with the Ocean Étude (Op. 25/12) and the fearsome Double-Thirds Étude (Op. 25/6) worthy of particular mention.
It is difficult to speak generally of drawbacks in these performances, because so much is context-dependent. Lim's often blistering tempi in the virtuosic stretches makes overwhelming effect in a piece like the Winter Wind Étude (Op. 25/11), but it comes across as rather breathless and rushed in Op. 10/2 (which is freakishly fast!) and the outer sections of Op. 25/4. His use of rubato can seem excessive in one area and yet justifiable enough in a subsequent area/repeat to mollify such first reactions (as in the outer sections of Op. 25/5). Passage-work sometimes seems too notey and detached (as in Op. 25/2), but in other pieces similar passages shimmer nicely (as in the mostly wonderful Revolutionary Étude - Op. 10/12). In every case Lim's artistry is breathtaking, and whole impressions can easily disarm isolated objections.
But there are two aspects where Lim rivals anyone in these études: tone color and the ability to bring out secondary voices. I heard many of these pieces with new ears as a result of the latter feature, notably Op. 10/5, which while quite speedy amazed me with its highlighted textures. But the moments of dazzling tone color are what won me over in so many cases. These require pianism of a high order, and Lim has it in heaps. The different shadings accompanying changes of harmony are spellbinding, with the Ocean Étude (Op. 25/12) and the fearsome Double-Thirds Étude (Op. 25/6) worthy of particular mention.
Perhaps Lim is at his very best in some of the slower selections, where his tone colors, rubato, and voicings all work together to tremendous effect. Quite distinguished in this respect are Op. 10/6 and Op. 10/11. Best of all is Op. 25/7, the Cello Étude. This is dreamlike throughout, with such subtlety and fine gradations. I don't know if I have ever heard its equal.
In sum, while I expect this recording to prompt nearly as much debate as it does admiration, it belongs in the collection of any serious Chopin enthusiast or even at-large classical music hobbyist. Not just any pianist can produce sounds like these. To quibble over preference is fine, but one cannot deny the distinguished talent on display. I look forward to a long and exciting discography from Mr. Lim.
Highly Recommended
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