August.23.2016 Isang Enders & JinJoo Cho & HyeJin Kim  ” TRIO”

IBK Chamber Hall, Seoul Arts Center



D.Shostakovich Piano Trio No.1 Op.8 c minor
F.Mendelssohn Piano Trio No.1 Op.49 d minor…

And D.Shostakovich Piano Trio No.2 Op.67 e minor


*Further information please find below :


*For the tickets :


빈체로 Vincero Arts Management & Entertainment님의 사진.

An Interview with Donga Ilbo I November2015

“연습 삼아 처음 참가한 콩쿠르에서 큰 상을 탔어요. 이후 10년간 독일 유학을 했는데 슬럼프를 겪기도 했죠. 한땐 가녀리고 작은 손이 피아니스트로서 적합하지 않다는 콤플렉스에 시달리기도 했어요. ‘손이 아니라 마음이 문제’라는 깨달음을 얻은 뒤 극복할 수 있었습니다.”


None but the lonely heart …”Interview for Piano Magazine I Feb.2015


HyeJin Kim

None but the lonely heart …


Hye-Jin Kim has spent over 10 years studying in Germany. I asked her which word in German she favors the most and she said it is “Sehnsucht.” Two verbs, Sehen(see) and Suchen(search), were put together to form “Sehnsucht” to mean that one searches for someone for he or she wishes to see. Kim says she always had the yearning for her motherland, parents, and friends because she has been outside home for many years and learned to sympathize a little more with the word, ‘yearning’, through Goethe’s poem, ‘None but the lonely heart’. I met with Kim.


Tears of HyeJin Kim


It reminds me of the movie ‘Ode to My Father’. I broke into tears while following the story that tells about Korea’s modern history and about the family love. Tears are one of the expressions of human feelings that cannot be hidden and have to be honest.


Which part of you made the most progress at Hanns Eisler?


It has been 10 years since I went to Germany to study. During that time I studied music and spent most of my youth, my 20s, there. I have been studying by inquiring into different questions and curiosities about life and music at each moment. I often faced other questions and problems around when I found the light leading to the exclamation of enlightenment. I am still like that and I think I will continue to be so. I am still studying, but what I am proud of about studying alone outside home is that both my life and music became more independent. By finding myself as I am, what I want and wish to express in music became much clearer. It was a process where my own musical colors became solid.


How was your graduation concert program organized?

The Konzertexamen (Concert Performer) course of the Hanns Eisler School of Music offers a degree through a total of three concerts. The first recital in November 2014 had a 50-minute program composed of the works of Scarlatti, Prokofiev, Debussy, and Liszt, and I will be performing the second recital with a 80-minute program and the last performance playing Rachmaninoff’s ‘Concert No. 4’ with the Berlin Konzerthaus Orchester in the first half of this year. I have great expectations for it as it is the first concert for me.

Read more

Message through Chopin and Schubert


HyeJin Kim drew the eyes and ears of the world by becoming the youngest performer (17 at the time) to win third place at one of the world’s top competitions, Busoni International Piano Competition, in Italy in 2005. Later, she proved her musicality and performing skills by winning an award at the Hong Kong International Piano Competition in 2008, and now she stays in Germany, studying in the Concert Performer’s Course at the Hanns Eisler School of Music. She has her final performance with the Berlin Koncert Haus Orchestra scheduled for the first half of this year before graduation and she visited Korea to spend time with her family in December of last year. I had a chance to interview her briefly and I could tell that she was a smart and ambitious performer as her profile showed and yet had the gratitude towards her parents and a warm heart and care for her friends.

She went abroad during her second year at Seoul Arts High School. She thought about studying abroad when she entered high school but she could not decide easily for it was not a simple matter. However, she made a firm decision after having recommendations from teachers and experiencing music camps. She has been staying in Germany for 10 years and in fact she spent most of her 20s there. Thus, Germany is like her second home. Interestingly, however, she quickly adapts to her life in Korea when she comes home and she also focuses on studying and music when she goes to Germany, accepting the pattern and circumstances there.

“I do feel lonely sometimes because I spent most of my time alone. The place I stay in Germany is so quiet that it feels empty when I do not turn on the TV or radio. But I think I have rather enjoyed that instead of thinking it is lonely or lonesome so I try to enjoy the culture such as taking recital tours, listening to music or seeing a movie often, and on a sunny day I enjoy the sky while walking around town, clearing up my mind. I try to enjoy every moment of life.

The more I talked to her, I felt and became sure that she is a performer with an innately bright and positive character. Although she has been studying alone at her will rather than being forced by anyone else, she was enjoying her student life outside of home with her own knowhow. I asked her about the German education system and she explained that the educational program is great as it is designed to guide students in the direction that fits them by reflecting the character or preference of individual students rather than talking about how one does well in school above all things. She also added that students can be too independent that they need to carry the responsibility on their own, but it makes them stronger as the same time.


Kim won a number of prizes in various international competitions including the Netherland’s International Young Pianist Competition in 2004, Cantu International Competition in 2005, and Steinway & Sons Advanced Award Competition in 2011, and recently added another prize at the Toronto International Piano Competition to prove her skills. She played with the Gyeonggi Philharmonic at the Symphony Festival last year and was invited to the Seoul International Music Festival and Ruhr Piano Festival in Germany and held recitals along her many activities.

Kim is holding her first recital in Korea in February. Although she had many recitals outside her home country, this is her first in Korea that it is a slight burden. But she is preparing for it thoroughly with music that can express her well as this is a chance to show her word of music and communicate through it.

“I also have many expectations for the recital because it would be another chance to know about myself through the practice. It is a chance to show myself fully for about 1 hour, so I want to be sincere about it and most of all, I want the music I am committed to be well presented to the audience.”

She chose Chopin for Part 1 and Schubert for Part 2. She is often asked about her favorite composer. She says it always changes rather than being fixed to a particular composer, meaning that she is open to all works of all composers.

“I have loved Chopin from my childhood for his unique delicateness and romantic tone of music. His works are not easy but I feel attached to them. They are the ones that are difficult to approach but I am taking the heart of grace to challenge them this time. I became more interested in Schubert in my late 20s. It is not easy to render my feelings as easily as I feel them, but I chose the one that I can express myself well among his last sonatas. <A Major> carries a more hopeful message compared with other pieces and is positive and young. I chose it as it seemed to match my age. It is not as often performed in Korea as other sonatas so I want to show its charms to the audience.”




Kim usually takes a nap before she performs and tries to take as little caffeine as possible on the concert day although she loves coffee and has it frequently in ordinary times. She always thanks her parents deeply as much of her years are spent alone outside the family to study.

“I am always grateful to them. I also thank them for supporting and allowing me to leave them to study, which was what I wanted at an early age. I could change my attitude and feeling toward music greatly because I was able to experience a new environment and world at an age when I knew nothing about anything. This is still the major driving force for me to consistently commit to my music. I am really thankful to my parents who always trust me and look out for me.

Kim hopes that the audience feels the sincerity through her performance rather than finding music difficult to understand. She says she wants to offer the time of joy, the time to bring back memories, and time to feel the tenderness of the heart to those who come to the concert and make it an important chance to have emotional communication. While a technically excellent performance is important, Kim wishes to become a performer who can soothe people’s heart through music and touches their hearts. Kim will continue to stay in Germany as a performer after graduation and has a concert with Frankfurt Broadcast Orchestra coming up in November of this year. She will be leaving the school to become an independent performer this year and she is expected to draw great attention to her future activities.


By Hye-jeong Choi


The Recital of Pianist HyeJin Kim

8 p.m. February 13, IBK Chamber Hall, Seoul Arts Center



Chopin (Scherzo No. 1 b Minor Op. 20)

(4 Mazurka, Op.33)

(Ballad No. 3 Ab Major, Op. 47)

(Ballad No. 4, f Minor, Op.52)

Schubert (Sonata No. 20A Major, D959)




Refined Touch from Noble Character I HyeJin Kim



Refined Touch from Noble Character, HyeJin Kim


In the last few years, I have often heard about Korean performers winning international competitions. Amongst them, I became especially interested in Hye-Jin Kim, the youngest performer in history to have won third place at the 2005 Busoni Competition, which is one of the top 3 piano competitions in the world, and I had a chance to meet her as an accompanist at the 2014 Symphony Festival.


My first impression of Kim was a performer with a good spirit and pure soul who are also accustomed to the modesty of being humble. In addition, there was something special about the ceremony of putting together her emotions into her fingertips like a priest who would carry out a sacred ritual before she began to practice. It can be seen that her passion in pouring all her energy into the performance and keeping her eyes on the score at all times throughout practice until the break made her who she is today.

At the time, we performed Ravel’s piano concert in G Major for the joint performance, and her first touch flowed through the piano keys like a stream as though it reflected her good spirit and pure soul to render the figure of sound gently like an innocent child rather than projecting the music of Ravel during his painful and difficult times. The reason a number of composers could create the sound of pure soul in the midst of their physical and emotional distress must be that they had a superhuman ability to control themselves to sublimate their pain into the sound under extreme circumstances. This was at least the case for Mozart, Beethoven, Tchaikovsky, and Ravel.

Another streak of light I found about Kim in the second movement is her unforgettable touch that seemed to have been refined through her elegant and noble character.

The second movement, Adagio Assai, of Ravel’s piano concert is known as the most entrancing movement among currently surviving piano concerts. It harbors the emotion closest to the French impressionist music among the pieces from the age of romanticism where piano and orchestra sing the duet for love as though they exchange the sound like an echo while maintaining the connection between them. It could have easily been a tedious 10 minutes, but she captured the eyes and ears of the audience with her elegant fingers and the concentration that did not let go of the tension even for a moment.

The bold and elaborate technique of the third movement that raged even before the lingering impression of Adagio cleverly brought life to the figurative beauty of this movement and flavorfully rendered even the freewheeling and romantic jazz rhythm laid on top of the classical motif designed by Ravel.

I was able to meet her again at her recital shortly after that performance, and I could see that her performance became much more mature in  a  short period of time for the academic and elaborate touch she showed in Scarlatti’s sonata, which represented the articulation of Horowitz that implied many hours of practice she must have spent. Also, it was an opportunity to witness the progress of a young virtuoso with my own eyes and ears. In particular, Kim depicted the harmony of romanticism with the balanced weight of both hands while boldly exhibiting her skills as much as she could in Prokofiev and Saint-Saens of the age of romanticism following the age of classicism and delicately expressing even the smallest parts.


Another anticipated aspect of this recital is her repertoire that has become broader.

As Chopin’s scherzo, mazurka and ballad are quite independent music and form a genre in piano as unique as Beethoven’s musical innovation, attention is drawn to the rendering of various tones. Also, since Schubert’s piano sonata is a freely composed piece, the performer may throw off the formal framework, and many performers consider this piece quite difficult and some of them even consider performing Schubert’s sonata perfectly as their goal in life.

Throughout all these, Kim seems to enjoy meeting new challenges every day by composing her program rather boldly.

I hope her new challenges will bring her as well as all of us a great joy.


By Dong-yong Park, General Manager of the Gyeonggi Philharmonic Orchestra



고귀한 품성에서 나오는 정화된 타건의 소유자 김혜진


최근 몇 년 사이 국제콩쿨에서 한국인의 수상 소식을 심심찮게 접하게 된다. 그 중에서도 세계 3대 국제 피아노 콩쿨로 알려져 있는 부조니 콩쿨(2005년)에서 역사상 최연소 3위에 입상한 김혜진에 대한 남다른 관심을 갖게 되었는데, 마침 지난 2014 교향악축제 협연자로 우연찮게 만나게 되었다.


첫인상은 너무나 맑고 순수한 영혼을 가진 연주자라는 느낌과 자신을 낮추는 겸손이 몸에 베어 있다는 생각이 들었다. 또한 연습에 임하는 자세는 사제가 거룩한 의식을 행하듯 자신의 감정을 손끝에 모으는 의식 또한 예사롭지 않았다. 그러면서도 휴식 시간까지 한 순간도 악보에서 눈을 떼지 않고 에너지를 쏟아 붓는 열정이 오늘날 그녀를 만들지 않았나 생각되었다.

그 당시 협연무대에서는 라벨의 피아노협주곡 사장조 작품을 함께 했었는데

맑고 순수한 영혼답게 첫 타건은 물흐르듯 쓸어내리는 건반으로 반영되어 음형이 라벨의 고통스럽고 힘든 시절 음악의 투영이 아닌, 순수한 어린아이 같이 가볍게 다가왔다. 많은 작곡가들이 자신의 육체적, 정신적 고통가운데서도 맑은 영혼의 소리로 작곡 할 수 있었던 것은 자신의 아픔을 극한 상황속에서도 소리로 승화시키는 초능력적 자제력이 있었기 때문일 것이다. 모차르트, 베토벤, 차이콥스키, 라벨이 그랬다.

연주시 2악장에서 김혜진에 대한 한줄기 빛을 더 발견했던 것이 있다면 우아하고 고귀한 품성으로 정화된 타건이 오래도록 잊혀지지 않는다.

라벨의 피아노 협주곡 2악장 아다지오 아사이(Adagio Assai)는 현존하는 피아노 협주곡 중 가장 황홀한 악장으로 알려져 있으며 피아노와 오케스트라가 서로 사랑의 2중창을 주고 받듯 어루만지며 에코(echo) 처럼 서로를 보듬으며 노래하는 낭만시대의 곡중에서도 프랑스의 인상주의 음악에 가장 근접하는 정서를 품고 있다. 자칫하면 지루 할 수 있는 10여분이지만 그녀의 우아한 손놀림으로 한 순간의 긴장도 놓지 않는 집중력으로 관중들의 시각과 청각을 사로 잡았다.

아다지오의 여운이 채 가시기도 전에 휘몰아치는 3악장의 대담하고 정교한 테크닉은 이 악장의 음형적인 묘미를 재치 있게 살려주었으며 라벨이 원하는 고전적인 악상위에 펼쳐지는 낭만의 자유분방한 재즈 리듬감까지 감칠맛 나게 연주했다.

이 공연 이후 머지않은 시기에 그녀의 독주회에서 또 한번의 만남이 있었는데 짧은 시간내 한층 성숙한 그녀를 발견 할 수 있었던 것은 호르비츠의 명료함을 대변해왔던 스카를라티의 소나타에서 보여준 아카데믹하고 정교한 타건은 그녀가 한없이 쏟았던 연습시간을 가늠케 했으며 젊은 비루투오조의 성장을 눈과 귀로 확인 할 수 있는 기회가 되었다. 특히 고전이후 낭만시대의 프로코피에프와 생상에서 담담하게 그녀의 기량을 최대치로 발휘하면서도 섬세하게 아주 작은 부분까지 놓치지 않고 표현 하는 여유까지 부리며 낭만의 화성을 양손의 균형잡힌 무게감으로 그려냈다.


이번 독주회에서 또 한번의 기대를 갖게 하는 것은 점점 넓어진 그녀의 레퍼토리이다.

쇼팽의 스케르초와 마주르카 그리고 발라드는 아주 독립적인 음악들로 베토벤의 음악적 혁신 만큼이나 피아노 음악에서는 독보적인 장르로 다양한 음색의 구현이 주목된다. 또한 슈베르트 피아노 소나타는 자유롭게 작곡된 곡으로 형식의 틀을 벗어던져도 좋을 것이며 이 곡은 많은 연주자들이 어렵게 생각하는 곡으로 슈베르트의 소나타를 완성하는 것이 일생의 목표이기도 하다.

이러한 것을 볼 때 그녀는 과감한 프로그램 구성으로 새로운 도전을 날마다 즐기는 듯 하다.

새로운 도전이 그녀와 그리고 우리 모두에게 행복이었으면 하는 바람이다.

글 박동용, 경기 필하모닉 기획실장