Hyung-ki Joo

That was an excerpt from Rachmaninoff's Piano Concerto No. 2, and it was played by Hyunki Joo. I'm Erica Worth, and welcome to this Pianist Podcast. I'll be speaking with Hyunki about his upcoming concert engagements, his love of teaching, and much more. Hyunki, it's great to have you on the Pianist Podcast today. Oh, thank you for having me. You're very, very welcome. Wonderful way to start my day. Perfect. Some listeners may know you as one half of the duo Igudisman and Jew, but I believe after some 20 years, you've decided to take a different, exciting path. So why don't you fill us in there? Well, I've spent the last 20 years with my duo bringing laughter into concert halls and making classical music

as accessible as possible to any age. We used to always, our slogan was... For 8 to 88. But we've had even younger and beyond. And it's not that I'm leaving the humorous side of my life. I mean, you know, humor is a part of life. But it's like I've been making perfume out of a fruit. And now I'm making an essential oil. And I am essentially a classical musician. I mean, that's what I am. I don't pretend to be anything else.

And, you know, the main reason why the duo existed was because we both felt that classical music was far too alienating and would estrange audiences and intimidate them. And we ourselves, I mean, I always felt like as a teenager going into concerts that I was there was nobody that loved classical music more than me. And yet I wanted to leave the concert hall. So that told me clearly there's a problem, because if I'm the number one fan and I'm not comfortable in a concert hall, then so we have to find a solution. And so that was one of the reasons for the duo was to create the type of concert that we would want to go to ourselves, actually, and make it possible for any kid or anybody that doesn't have any

idea about classical music. And mixing it with humor and theatrical antics and staging is just one way to create an access. But we always included serious music. And for us, it was never about making fun of the music. It was always about having fun with the music. And I love classical music so much. And it's something that I've missed in the last 20 years, even though I've been involved with it. And, you know, I, of course, would be playing recitals and chain music and concertos.

But the ratio is now different. And so now that I've left the duo, I can really. commit myself entirely to because i'm actually a nerd you know i love uh just looking at scores learning music learning about i'd love to be a student again so so that in a way i feel like that i think those musicians one always is learning though right absolutely you're a student yes there is no end to learning no No, no, no. And we pianists, we're spoiled because we have, what, 32 Beethoven sonatas, 48 Prez infusos, 27 plus Mozart concertos, et cetera, et cetera. So we have plenty to do.

Exactly. And that's only the tip of the iceberg, isn't it? All this new repertoire that people are discovering. That's right. Yeah. But I mean, I like the way you felt that music, of course, should be accessible. I believe, you know, you've got these special programs anyway, such as Chopinesque, Revelling Bach. Maybe you could explain these types of programs. Well, I think that the format that's generally used today, like if you take any symphonic concert, you could practically copy paste the program. It's always the same menu. It's an overture. It's a piano concerto or maybe a violin concerto. You'll never get an oboe concerto or a trombone concerto. Maybe a cello concerto if you're lucky. And then there's

the intermission. And then there's some symphony. And usually a well -known symphony. And it's like Beethoven didn't just write nine symphonies. He wrote so much other stuff. It's such unimaginative programming. And so if you think about a piano recital, I mean, some people are being a bit more inventive now, but generally the format of a piano recital is very much the same as, I don't know, a final round of a piano competition.

I mean, it goes in chronological order. And, you know, you've got a bit of your different periods and then you end with your virtuosic show pieces. And then you've got I mean, it's just so it's so primitive for me. And a program like Revelling Bach is is actually quite a conventional program. It's just music by Bach and Ravel. But first of all, I find the combination very interesting.

I think they go together very well. Interesting. Some people raise their eyes and then when they listen, they realize, oh, yeah, you're right. And it's about having the juxtaposition of, you know, whole sonatas don't have to be played. And in the performance practice of the time, it wasn't always the case either. You know, symphonies, sonatas were not played in their entirety. And so I think to... to split up pieces and to mix around periods and to juxtapose, go back and forth. I think it just makes it more interesting than rather a, you know, the complete works of Brahms in one evening. I mean, I love Brahms, but do we have to have all of it in one evening?

It's interesting that you say one can break up a symphony. That's quite unusual, isn't it? Well, it's only unusual if one hasn't looked at the documents of, you know, the historical. performance practices of what happened during those times. And then, of course, you'd have some people that would try to break that. That's why Mendelssohn, for example, in his third symphony, I think maybe even in his fourth, but definitely in his third, writes attacker and there must be no applause and these movements have to go into each other.

And then, of course, Mahler and Wagner would insist on... you know having a dark room and and no applause between movements and so on so so there were certain uh authoritative figures that tried to change this up yeah but the point is that there is no one tradition and traditions have changed and but we we seem to have stuck to some certain traditions and when when the traditions are just coming out of a freezer then they're not alive interesting so your most recent project piano versus orchestra is that going to be a bit exciting for the audience well i think people love to hear stories and i love to tell stories and in a way every every concert every theatrical experience i mean that that's

that's human evolution right i mean we've we've survived through telling stories and um so there are so many interesting stories in the world of classical music and if you just take the relationship of the piano and the orchestra. I mean, the piano started as a humble servant, as a continuo, just filling in little harmonic things and sort of being in the background. And then Bach really broke out by, you know, giving the harpsichord player some Red Bull or some, you know, high octane drugs, performance drugs. And in the, you know, is it the fifth? Yeah, the fifth Brandenburg.

suddenly the continuo harpsichord player just lets loose and goes nuts. And many say that's kind of the first piano concerto. And so then you have this very interesting relationship that happens, is that the piano becomes even more important. It's kind of a bit like the individual versus society, David versus Goliath. And then Beethoven comes along and completely breaks all traditions, as he always does, if you think about the fourth concerto, starting with the pianist.

It must have been amazing. The first performance of this must have been amazing. The pianist just starting these very quiet, usually concertos start big, first of all, right? Big, tutti's, and there's this pianist just playing some kind of G major stuff. What's he doing? Is he warming up? Is he improvising? Is he tuning the piano?

And then after eight bars, the orchestra comes in in a completely different key, as if to say, excuse us, sorry for the pianist. He's a bit delirious right now. We're going to take over. And then the Fifth Concerto of the Emperor, you know, you have the cadenza right away. So Beethoven putting everything on it. And the piano is just, in a way, yes, it's kind of a beast, but it's a small beast compared to a 60 -person -sized orchestra. But through the piano concerto, you have this kind of rivality, this kind of, yeah, testing the limits. Can the piano be as more powerful than the orchestra? And then eventually...

Especially more in the 20th century, the piano becomes a fabric of the symphony orchestra. They become friends. I mean, composers like Prokofiev and Shostakovich, Bernstein, Copland, use the piano in such imaginative ways. Sometimes you don't even notice that the piano is there. It's like a little spice, a little bit of saffron or a little, you know. And so I love to talk about that. And I never understood why, I mean, okay. As I said at the beginning, you know, we pianists have so much repertoire. But also playing the piano parts in an orchestral work is fascinating.

And it's great music. I mean, I would love to play Petrushka, you know, as the pianist one day, you know. But I get to do that in my show, Piano Versus Orchestra. And at the same time, you know, there's this tension between soloist and conductor. And the whole show starts with, I don't know, you must know the story of Glenn Gould and Bernstein. Yes. Quite a famous story when Bernstein just came on stage and for about three and a half minutes basically denounced Glenn Gould, the soloist that's about to come on. I mean, imagine you're a soloist backstage and the conductor's just, you know, saying terrible things about you and how he doesn't agree with anything you're about to do. And so it starts

with that. And so throughout the show, throughout the concert, there's little moments where the audience gets to see or witness real -life events between pianists and conductors. Another great moment is between Barenboim and Mehta when they did the Schumann concerto. And Barenboim had a problem with his piano stool and was adjusting it. Here's a true story. This is not a myth, by the way. I've spoken to Zubin Mehta about this. Barenboim was adjusting his stool and Mehta didn't look didn't bother to look around to see if he was ready so he just gave the downbeat BAM and then Barenboim just scrambled and probably messed up the opening and was really obviously bit bit furious so in the second movement he

had his revenge just before the second movement started Barenboim gestured for Mehta to come over And I said, Zubin, can you help me with the stool? And while Zubin was distracted looking at the stool, Barenboim just started, bum, bum, bum, bum. That is fantastic. Yeah, true story. Fantastic. And audiences love this. And so we reenact this. If I have a good conductor that's willing to do that, we reenact these stories.

And so it's kind of a history of the piano concerto, let's say. It's fantastic. Yeah, because sometimes one does hear, oh, the soloist wasn't looking at the conductor or vice versa. The conductor didn't care about the soloist. You do hear that a lot. You know, it's great. But on another, you're doing all this performing, but you're also very interested in scores, aren't you? I believe you're an editor of fingering for Henley.

Yes. And you're currently working on Gaspard de la Nuit. How did you get into this, working on the fingerings for such a reputable publisher? I've always been fascinated by fingerings. And for me, it's interesting because I noticed that a lot of pianists, either colleagues or students, don't really give much thought to fingerings.

I do know some wonderful pianists who never even write one fingering and they seem to be just fine. So obviously this doesn't apply to everyone. But I think that most of us would benefit from really thinking about fingerings. And I think there's so many misconceptions in education. You know, notation is limited. I think we forget that. Of course, we take notation as the word of God, and this is what has been left to us, and we have to follow the score. Yeah, sure, all of those things are very important, but at the other hand, it's a very limited system. There's only so much you can put into five lines and two staves. there's a logic in piano writing to the notation that it kind of has a visual

layout that it looks that it looks makes sense that the if it's polyphonic that the voices sort of lead each other and there's a sort of clarity of but if you look at a Bach fugue you you can't think of treble clef as right hand and a bass clef of left hand I mean that's a big misconception I know some students that think like that and that that's wrong because if it's a free voice fugue the the outer voice or the middle voice is split between the two hands so you can't practice right hand left hand you should be practicing the voices anyway my point is that notation is limited and so therefore but we pianists we always we tend to think whatever's in the treble clef is for right hand and whatever's in the bass

clef it's for left hand and these these pianists composers should know better and they you know notated it that way But I think in most cases, that's not really accurate. And so we, as a pianist, have to find a way to orchestrate the score in a way that it sounds great. And so there's that wonderful story, you know, of Mozart, who played a note with his nose to full Haydn. And Debussy writes about that in his preface to his etudes.

He says, I deliberately haven't written any fingerings in my etudes because in the case of Mozart, I mean, I'm paraphrasing it, but basically he says, you know, if you have to play with your nose, then why not? Yeah, yeah. Right? So that's the thing. And after a while, composers like Prokofiev and modern composers were using fists and elbows.

So in the end, you have to use whatever you have to try and get the essence of the music across. And by finding the right fingerings for your hands can make the difference between whether you struggle completely or whether you just struggle slightly in a piece. I mean, you know, Rachmaninoff 3 is always going to be challenging. But if you found a way that the fingering makes it fluid and easy and without the least amount of stress and that you have the most amount of marginal gains. Then, you know, over a 40, the course of a 40 minute piece or whatever, if you're saving, if you're, you know, if you're gaining on every single moment, then you're not that stressed at the end. I get it. But then, of course, all

hands are different. Finger lengths, blah, blah, blah. Flexibility. Oh, my goodness. So your fingering in a particular Henley edition might not work for the person next to you. Absolutely. Really, what I hope, the one thing about the Henley app is that you can actually have several people's fingerings. So, for example, on my edition of the Rachmaninoff Second Concerto, and I even did a little ad about this, I said, and if you don't like my fingerings, great, because you can also see Marc -Andre Hamelin's fingerings.

You can see Rachmaninoff's fingerings. You know, there's other people's fingerings that you can turn to. And that's the luxury. For me personally, I don't really care if anybody uses my fingerings or not. What I'm hoping for with fingerings is that when I'm teaching or in an edition, is that it will inspire and encourage that individual to go out and be creative with fingerings. Interesting.

Is this something you learned as a student yourself? I don't know, early on, your teachers? Yes, I had one teacher called Peter Norris at the Yehudi Menuhin School, who sometimes would just get so obsessed with fingering an eight -bar churny etude that the whole hour would be spent. And at the end of the hour, there would just be three eight -bar churny etudes that would be fingered.

And I would just watch him do this, and he would just get lost in a trance. And then suddenly he'd be like, oh my God, is it one hour? It's gone. I'm so sorry. Is this all I was doing? But I learned so much from this process, from watching him figure out these very, in a way, simple eight bar things, but really thinking, should it be a five? Should it be a four? And so I think, and the other thing is, I don't consider myself, hey, I mean, I wasn't one of these virtuoso pianists that just came out of. birth playing, you know, Sifra. And so I had to learn how to play in the sense that things didn't come easy.

So and they still don't come easy. So I find that fingerings for me especially make an enormous difference. Absolutely. Absolutely. While you're talking about your training, I have to say, you and I, we both studied with the same teacher, didn't we? We did. Manhattan School of Music. Tell me about your recollections with Nina Svetlanova.

Yes. I actually want to know about your recollection. I guess we'll have to do that after the interview. Well, she was very important for me because she, I think the thing in hindsight, now looking back, the thing that I learned most from her is actually, The wisdom of life. That doesn't mean that she didn't teach me about the science of piano playing.

I learned a lot about the science and philosophy and approach to piano playing and music making. She was very encouraging of the individual artist, which is why I, you know, and she was very caring. I think it wasn't the case with all students, but she had so many students. I mean, how can you possibly take care of so many? But I was just very fortunate that I had a great relationship with her. But if I look back, the things which I still keep today are actually life hacks or wisdoms, ways to just go about things and go about life. Yes. She was more than just a teacher.

Exactly. She was more than just a teacher. She would offer all kinds of very deep, insightful advice. Well, obviously, all these wonderful teachers you've had, I know that you yourself now like to teach and mentor. You find that's an important part of your life, yeah? Yes, I've been so, so, so, so lucky to have had so many amazing teachers in my life, many of whom...

was so generous with their time. I remember when I was, I think I was 16 years old, I approached Richard Good out of the blue. I heard him play in Wigmore Hall, the last three Beethoven's and others. It was like Beethoven fell from the sky and played himself. And I wasn't in the habit of going backstage and approaching some incredible artist, but I thought, I have to see this guy.

So I just went back and I said, hi, you know. My name's Yankee and I would just love to play for you. And he was just so gracious. I mean, if I think about it now, I mean, the guy had so many more important things to do. Right. And just some random 16 year old who he hasn't heard. And he just, yeah, he said, come, come at this time. And amazing. And I saw him several times and he, and I wanted to pay him. He said, no, no, don't, you know, he, he said, you know, I had also wonderful teachers and. So it's my way of giving back. But I mean, Richard Goode wasn't the only person like this. I had lots of wonderful examples. Ferenc Rados was a big influence in my life. And he's someone that, he died unfortunately

a few years ago, but he's someone I would still play for now if he was alive. And I think the last time I played for him was a few years ago, actually. So even in my late 40s, as I said, I'm still a student. But you teach. I do. I do. And I was approached recently by a piano trio called the ETA Piano Trio. They just won Osaka and Trieste. Very promising piano trio. And I coached them in a master class. And then a few weeks later, they said, we want you to be our mentor and coach. And so I thought, well, OK.

Obviously, that's my calling. That is fantastic. I mean. There's a lot going on in your life, obviously, but you're also ambassador for the Sir Peter Ustinov Foundation. Yes. Do you remember Peter Ustinov? Of course I do. Wasn't he amazing? Yeah. Do you remember his kind of parodies and persiflages on Lieder, Abend and Schubert? No.

Oh, he was amazing. So a lot of people know him as just this, you know, actor, incredible actor from, you know, Spartacus or Hercule Poirot. But he also had these wonderful evenings where he would sit at the piano and he would kind of do like a Victor Borger evening and just talk to his guests and do funny impressions at the piano. Amazing. And I remember watching that.

And a few years ago, I co -wrote a book with my duo, Alexei Guruzman. It was a book about creativity. Unfortunately, it's still only available in German. It's called Rette die Welt, which means save the world, because we believe that creativity saves the world. And we were thinking of making a nod and some kind of contribution to an institution that honors creativity. And I came across the Peter Ustinov Foundation. Peter Ustinov was also 35 years ambassador to UNICEF.

And that's probably his. greatest achievement, which we all don't know about so much and helping children in need, underprivileged children all around the world. And then after 35 years of working at UNICEF, he decided to start his own foundation. And to cut a long story short, I got in touch with someone at the foundation and we met and basically they appointed me an ambassador.

And recently, Through my work at the Usna Foundation, I helped to start a music school in Rwanda. And I'm super happy and proud about that. And it just opened literally just a few days ago. And I got sent pictures and videos and these wonderful Rwandan kids, you know, playing guitar and keyboard and writing, you know, music notation. Amazing.

One of the poorest villages in the world in this place called Kigali in the middle of nowhere. So I'm super happy that somehow something I could do could make a small difference. Oh, fantastic. You'll have to go over there, won't you? Yes, I will have to go. And I'd love to go and spend some time with the kids and work with them, play for them. Oh, what a wonderful. thing to do.

And I know that you're artistic director to the Menuhin competition for young violinists. Yes, that's right. How come? Being a pianist. Yes. Well, why not? Maybe the pianist is a better... No. Well, I have a close relationship to Menuhin having been in the school and also I had my big debut. with Menuhin on his 80th birthday concert.

We did Beethoven 4 together, the Barbican. That was really my debut. And so he was a big supporter. And I was approached by the board of the competition because they were looking to find a way to be more relevant. They didn't want to just do another competition like every other violin competition. which I didn't know at first. And when they first asked me, I was like, well, why should I do this?

And then when they said, well, we're looking to... So then that was a perfect opportunity for me to agree. And so, yes, I mean, I'm very invested in young talents and education, whether they be violinists or pianists or whatever. So that's... That's another part of my life that I'm very happy to be doing. Fantastic. And I mean, all these colourful characters you've hung out with, one of which I think is you, John Wang, you've played with her? Who's that? Never heard of her. You've played four hands? Yes, and we've played two pianos as well. We've done the Lutoslawski Paganini variations. Oh, gorgeous. Gorgeous.

And if we have time, I can tell you one quick funny story. Absolutely. Okay. So my duo and her, she invited us to be part of her Carnegie Hall perspectives a few years ago. And we did a show with her called The Clone, where she plays the clone. Because, you know, basically there's so many pianists today. And, you know, now with AI and, you know, robotics and, you know, you can just clone pianists. So she plays this kind of clone. And it starts with me coming on stage all alone. But I'm dressed up like Yuja. I'm wearing one of her very revealing zigzaggy skirt outfits, which I cloned. And I got her hair.

I got a wig made in very much like her hairstyle. And, you know, I am Asian. There's that ethnic similarity. So I walk on stage, you know, in high heels and looking like Yuja. And I say, you know, unfortunately, Miss Yuja Wang had to cancel. And, you know, I'm her replacement, et cetera, et cetera. Anyway, so that's how the show starts. The next morning, I went into the Carnegie Hall office. And as I got out of the elevator, this guy came up to me, said, wait a minute, you're the guy from last night, right?

You performed the show. I said, yeah. He said, I have to tell you a story. Just before I arrived at Carnegie Hall, I went over to my optician to pick up my glasses. And I ran over to Carnegie Hall. I made it just in time to see you walking on stage. But, of course, dressed up as Yuja. And I thought that was Yuja. And I had to take off my glasses and inspect them to see whether my glasses had been made properly. That's so funny. Yeah. Well, it must have been quite an apparition seeing you as you, John. Well, there were other people that were fooled. There was one guy who told me, he said, you know, when you came on, I nudged my wife. Oh, you just put on a bit of weight, hasn't she? So, yeah, I managed

to fool them for a bit. And you, John, obviously enjoyed it. Well, she knew what she was getting into. So, you know, in German, they say, which means self -fault. Oh, it's fantastic. Oh, well, listen, we're getting towards the end. So what I want to do now, and I'm sure these answers from you will be rather colourful. I'm going to ask you some lighthearted questions. And if you could just answer me off the cuff, that would be brilliant. Oh, this is like inside the actor's studio. Totally. Yeah. Why not? Okay. First question.

Yes. If you could play only one piece from now on, what would it be? Oh, my God. Well, you know, I also conduct and I think the piece that I if I'm going to cheat, I'm going to cheat. I would say that the second act of Daphnis and Chloe and Mahler's Fourth Symphony. Wow. And if there was no orchestra, then I guess I'd play that at the piano. So those would be the two pieces if I could only play forever would be that. That is such an unusual answer. I love it. I mean, there's so many piano pieces. Goodness. OK. Both amazing pieces, by the way. Yes. OK. If you could play only one composer from now on, who would it be? Oh, I guess that would have to be Bach.

I couldn't live without Bach. I wouldn't say Bach is my favourite composer. Yeah. But I can't live without it. It's like it's like Bach for me is like air, water. You can't live without air and water. Very good. Right. But I mean, if you go into a restaurant, you don't say, sir, could I have some air and some water? You ask for the steak with truffles. Right. So. So, you know, my steak with truffles would be Ravel or Montpau or Beethoven. But you can't live without air and water. So that's why Bach would be my answer. That's fantastic answer. I love it. One pianist, dead or alive, you would travel long and far to hear? Glenn Gould. Okay, why? I mean, it's no coincidence that he's the only one that's

playing in space right now, right? He's on the Voyager probe. Yeah. No, I mean, of course, there's a plethora of pianists I would love to hear. I mean, obviously, I'd love to hear Beethoven playing. That would be amazing. Who wouldn't want to hear Beethoven playing or Liszt? I just feel like... Glenn Gould is more than a pianist.

He's someone that when he's playing in the background on TV or you start whatever, there's some Glenn Gould playing. You don't even know it's Glenn Gould. You cannot help but listen. It doesn't even mean you like it. There's so much Gould that I think is very, very questionable. But he just draws you in. And his take on music is so fascinating. I remember once listening to the first movement of his Appassionata with a group of friends. And it's a very, very slow performance. And we were basically laughing for about 20 minutes because it's just so ridiculously slow. And then someone had the idea and said, let's listen to it again. And we listened to it again and we just stood in silence. We just

sat in silence. It was just one of the most amazing experiences. So, yeah, so I would say Glingle. OK, that's amazing. One person dead or alive that you would love to play for? Well, I already said Rados, right? I mean, I wish he was still alive. I guess the next choice would be Kortak. And he is still alive. I mean, he's 100, isn't he? Yes. So I better act quick. Quickly, get out there. Do you yourself have any technical issues? Too many. Too many. Yeah, every concert is just, I mean... Nightmare. Yes. Why do you think I spend so much time working out what the right fingering is? Because, yeah. Yeah. I don't know if I'm ready to confess how many. Okay, no, no. No, but too many, too many, really. Yeah,

perfect, perfect. I think nothing comes easy to me, actually. It never really has. And in a way, sometimes the most simple things, like playing for Elisa, is horrifying. Horrifying. I agree, yeah. What advice would you give to an amateur pianist about how to improve? That's a great question. Well... To do something. Yes, follow my fingering. No. Do something on a regular basis, even if it's only five minutes. Yes. Find five minutes a day. And in those five minutes or whatever time you have to take one piece or passage that is slightly beyond your grasp and work on that. Be patient with it. Don't get frustrated with yourself. And at the same time, to end your practice session with playing something that

is easily within your reach and just have fun with it. Even better, get a chamber music partner or a singer or play some songs or violin sonatas or whatever, anything that you're actually playing with someone so that you remind yourself that music is fun. Yes. So there's the striving for something that's a bit beyond so that you improve and at the same time going easy on yourself.

Having fun. Yeah. Absolutely. A composer you're not quite ready to tackle? Sarabji. Oh, my goodness. Who is? Sarabji. Although I did once learn his pastiche on Sadko, Rimsky -Korsakov's Sadko. Beautiful piece, actually. I think I chose that because not only because it's very beautiful, but it's probably the easiest one, but still very, very difficult. Yeah. And I don't play.

Yeah. Surabhi. Cool. OK. No, thank you. Very tough. Very tough. Last question. If you weren't a pianist, what would you be? Well, if I wasn't a classical pianist, I'd love to be a jazz pianist. But if I can't be a pianist at all, then I think. I love playing tennis. I love tennis. So either tennis player or theatre director. Very different.

I like them both. Yeah, maybe I'd be a theatre director, tennis player. That's what I would do. I could see you doing both very successfully. Oh, Junki, what a great conversation this has been. Honestly. Thank you so much. Well, it's very easy to talk to you. when we hang up, I want to hear about your recollections of our teacher. Okay. Okay. Oh, well, listen, thank you so much for joining us today. Yes. And, um, good luck on, you know, thank you so much. All your future projects. Yes. I believe I was in one of your very first issues 25 years ago. Oh my goodness. What was this? Can you remember what we were? Um, well, I think you, So in October 2001, I released an album called Fantasies and Delusions, which was the piano music of Billy

Joel. And you picked up on it and you were kind enough to, I don't know, I can't remember, either write up about it or interview me or something. I'll have a look. I've got issue one right here on my shelves. I don't remember if it's issue one or two, but... If it was October 2001, that's when we launched Pianist magazine. Right, yeah.

How interesting. I'm going to have a look after this. Okay. Oh, Hyunki, thank you so much. Thank you, Erica. Thanks so much. Always a pleasure. Thanks a lot. Bye -bye. That was an excerpt from Raph Malinoff's Piano Concerto No. 2, and it was played by Hyunki Joo. Pianist podcasts are free, and a really good way to support what we do is by subscribing to Pianist. Visit our website at pianistmagazine .com and listen to us on YouTube by searching Pianist Magazine. And don't forget to sign up to our newsletter, which is full of extra playing tips and useful information. Go to pianismagazine .com to find out how to sign up.

Kapitelklicken springt direkt hin

Shownotes

Transkriptvom Podcast bereitgestellt · Zeitmarken springen hin