유명인들 인터뷰 듣는거 좋아하는데 조성진은 늘 들어보면 유명인답지않게 자신을 좋게포장하지않고 솔직하게말하는거 때론 놀랍기도 신선하기도하다 자기주관이 뚜렷한 사람이 편견과 고집이 셀수 있는데 사고가 열려있어서인지 자신과 다른관점 다른시선도 존중하는 모습도 보기좋고 자신을 높이지도 낮추지도 않으면서 당당한 모습 이런게 조성진의 매력이 아닌가 싶다 늘 응원하고 싶은 사람 .. 앞으로도 더더 잘되고 좋은 연주생활 이어가시길 바랍니다~

내면이 혼란스럽지 않고 정돈되어 있음. 여전한 이과적 답변 ㅋㅋㅋㅋㅋ질문자가 많이 배웠을듯.

너무나 똑똑하고 스마트함

헨델 바흐 악보만을 본다면 치기 쉬운 악보입니다 그런데 이렇게 어렵게 생각하고 공들이고 그어느때보다 연습했다는건 정말 음악을 보는 통찰력이 대단하고 깊고, 정말 영민하고 겸손한 아티스트라는걸 반증합니다 이미 천재인데 더욱 깊이 파고드는 노력과 겸손하게 다가가는 마인드까지 갖추었으니.. 완벽한 아티스트라고 생각합니다

94년생 젊은이가 클래식을 사랑하고 이해하는 마음이 감동이에요 드문 인재에요

이번헨델 음반 사서 들어봤는데 완전 대~애박 넘 좋네요 바로크음악은 잘 안들었었는데 시간 날때마다 듣고 있습니다 이러니 조성진팬이 될수밖에 없네요

소리가 안들리는 부분에 이런 말을 했었나봐요. 기사 찾아보니까. "저는 BTS만큼 팬덤이 큰 사람이 아니라서 그런 고민 자체가 거만한 것 같아요. 예나 지금이나 제 연주를 찾아주시는 분들이 한 도시에 1000-2000명이 있으면 감사할 것 같아요. 저는 추락을 고민할 때가 아니라 올라가야하는 상황이에요. 그래서 어떻게 하면 올라갈까를 고민해야할 것 같아요. "

@conbrio67

Жыл бұрын

항상 고맙습니다♡^~^

@kpluvmusic5876

Жыл бұрын

@@conbrio67 저도요 ^&^

@Fa-cl8ip

Жыл бұрын

이런 얼척없는 질문에 과분한 현명한 답을 했군요. 평생을 정진하고 단련하는 클래식 음악가를 무슨 아이돌 팬덤에 비유한 질문을 하는지, 그리고 기자 지가 앞으로 이런 큰 팬덤이 지속될 수 없을 수도 있다는 망발을 용감무식하게 하는지 어이가 없네요. 클래식 음악가들 인터뷰는 기자들 질문 수준에 한번씩 아찔합니다.

@user-he9xs8zn9y

Жыл бұрын

성진초의 연주도 너무 좋지만 그의 이런 겸허, 현명함에 매번 놀랍니다. 한결같은 이런 태도가 그를 발전시킨다고 봅니다. 😂🎉

된사람...우리나라 사람이라 고마워요!

주관이 뚜렷하고 그걸 덤덤히 그리고 정중히 표현하는 모습이 참 진정성있어보이고 멋져요

어쩜 말도 이렇게 이쁘게 잘하고~ 내면이 멋있을까요~? 솔직하고 덤덤한 모습이 매력적입니다. 😍

조성진님의 피아노소리는 마치 반짝 반짝이는 크리스탈 알갱이 같아서 너무 좋다.

우리나라의 보석 조성진씨 응원합니다~~!!^^

연주가 압도적이게 아름답습니다. 같은곡을 여러 연주자 버젼으로 듣는게 취미인데요...감동을 주는 연주입니다. 음을 따라가는 감각을 일깨워주셔서 감사해요. 직관할수 있다면 얼마나좋을까 요.. 인터뷰보니 가깝게 느껴지내요...귀요미 죠♡♡♡

인터뷰너무감사합니다.헨델잘듣고있어요.조성진피아니스트는 사랑입니다~^^~

**Here is the translation (2)** 7:04 The name of the album is The Handel Project. You said you would put yourself up to Brahms when you were in your 30s. Is this album in line with it? A: I didn't really think about that, but I think I said something like that in 2018. I had a vague idea that I wanted to do Brahms by the time I was in my 30s. Now that I think about it again, if you make plans for the future, you shouldn't make haste to say it. I got around to playing two Brahms concertos last year, and of course, I was still in my 20s. So from now on, when I do interviews or things of that nature, I will refrain from saying things like 'what should I do when I'm old, what should I do in the future'. Haha. 7:50 What do you think is the biggest difference between a harpsichord and a modern piano? What point did you try to make the most of? A. I thought Baroque music was grandiose and difficult to play, so I asked a harpsichord player for lessons or advice, I should say. It was last February, a year ago. His name is Sebastian Wienand, and he is Swissian. He has worked a lot with vocalist Sunhae Im, so I asked him through her to listen to me playing. I think I came to have a good understanding of the harpsichord there. His advice has been very helpful. I think the harpsichord and the modern piano are different instruments. The harpsichord has a mechanism that plucks the strings, and the piano has a mechanism that strikes the strings with hammers. They have completely different mechanisms. I think they are different kinds of instruments although both are classed as keyboard instruments. The biggest difference is that modern pianos are easier to control dynamics, so to speak. I played in Bamberg city last May, and there were a lot of harpsichords in the instrument warehouse there. I didn't want to miss the chance and thought I should try it, but it was really challenging. I thought it would be easier to play Baroque music on the harpsichord, but on the contrary, I came across many things that challenged me more. So I think the modern piano has a lot of advantages. First of all, it enables you to be more expressive. That can also be an advantage, but no one knows. No one knows whether Handel or Bach would like it or not if they came back alive and listened to this music. Still, I think it's true that Baroque music allows a broad range of interpretations; there are far fewer indications in the score than in Beethoven or composers of the Romantic era. Some people can interpret Baroque music romantically, pedaling extensively, or like Glenn Gould. I think you are widely open to that freedom, and I just played Handel with an interpretation that I thought was right at the moment. 10:44 This recording was inspired by the performance of 'Trevor Pinnock'. When you study to record a new repertoire, do you also refer to other musicians' performances/recordings? A: I think I use a bit of reference when deciding on my repertoire. I would not necessarily call it a reference; I like to listen to music, and I had Pinoc's and Richter's records. I have a complete collection of each at home, so I listen to them all the time, and I remember hearing Handel and happening to buy the sheet music at that time. But when I start learning new repertoires, in recent years, I don't think I listen to other people's records. 11:38 You make a lot of unexpected choices like the Berg Sonata or Handel. Don't your thoughts of expanding your repertoire give you headaches? A: Actually, the Alban Berg Sonata is a widely known piece among musicians, but I thought not so much so among the general public. I tend to go with them. In a way, it's embarrassing to even say this because Musicians might say, “Ah, you talk like you were doing a repertoire no one else has done before when in fact, it is a very famous piece.” Like Janáček sonatas and others. I put them in my program, the ones that I think the general public knows less about. No concerns about expanding repertoires. Because there are so many piano repertoires, you just have to try them all, so there are no worries. If there were a concern, it is time running short on me as I have to learn a new repertoire while traveling. I play as much as I can on the road, and when I get home, learn new pieces and practice. I think that kind of life is fun and I am good. I figure it would be nice if I had 30 hours a day. 13:00 You recorded it at the Siemens Villa Studio in Berlin last September. It was the same place as your Debussy recording, what was the atmosphere like there and how was the place? A: So far, I have recorded at three different venues: the Friedrich-Ebert-Halle in Hamburg, the Siemens Villa, and the hall in Baden-Baden. I think this hall was good because it didn't reverberate too much. Siemens Villa doesn't resonate too much, so I don't think it was too difficult to bring across on Handel. Of course, there may be people who say it would be nice to do Handel in a church or a place of that kind, but I weigh on articulation. I can clearly hear all parts, which made it easier for me to control. It might be difficult for me to hear all the voices in a place like a church or in those places because they resonate a little too much for me. When I was recording Debussy, it didn't resonate much, so I could use the pedal freely. I think that was an advantage. However, I wouldn't recommend recording a Brahms Sonata at the Siemens Villa. 14:28 Then, I wonder when we will be able to see Bach's Well-Tempered Clavier or the entire Beethoven sonatas. You don't have to say exactly when. A: I think. As I said, I've learned I shouldn't be quick to say things. [Translator: I think he is half-joking] I think it will be unlikely before my 30s, but I don't know. But the Beethoven Sonata is probably a project that many musicians want to do. I will put it this way; I want to do it in my 40s at the latest.

펜데믹으로 공연을 못했던 시간이 오히려 레파토리를 넓힐 수 있는 기회를 주었네요.

일년이 진짜 엄청 짧을 것 같은 조성진

클래식은 잘 모르지만 조성진과 그의연주는 좋아요~💜

*Here is the translation (3)* 15:10 You have been an active concert pianist for an extensive time. Have you ever experienced a slump? If so, how do you overcome it, and how do you keep doing what you love for a long time? What about continuing to search the repertoire? A: I have never been in a slump, but it was when I was in Paris that I felt I couldn't concentrate and my crafts weren't improving. It was 2013, so before I participated in the Chopin Competition. It's been 10 years since. At that time, I think what I did was I took a lot of video shots of what I was playing and watched it a lot to check what didn't go well and so on . . . But I haven't done it for some time now. Some people tell me that I should listen to how I play, to know where it went wrong and what needs to be improved, and I agree with them for the most part. I stopped doing it a few years ago, from a certain moment, because now I think that my thoughts of me playing wrong and needing to improve on those parts could be wrong. When I continued to think my thoughts were wrong, or when I kept refining like that, the music didn't feel as alive. So I do not record my performances and listen to them any longer. Still, at that time, I think it helped me overcome it a little. I think I managed to improve my crafts a little by doing so. What I like and can continue to do is: Back in the day, I never imagined that a pianist took tour trips this much or I would live this type of life. However, since I rode along with it and I travel a lot, I like working and being busy although I can't deny that I am a bit on the lazy side. When I'm busy, I feel more alive, and I feel like I'm useful. So I think the driving force to do what I love is just that, my personality. And regarding repertoires, this is also related to why I do music, I like to be busy, so I feel great joy when I learn and do new things. 17:47 The environment for listening to classical music (digital releases, etc.) has changed a lot these days. Seong-Jin, how do you listen to music? A: I tend to listen to records a lot at home and still buy records. I think there are very few people around me who buy records. The reason I listen to albums is simply that I have speakers, and I don't really like listening to music on airplanes or while roaming around. So I don't have a Spotify account. I think it's so good that you can watch videos of older-generation pianists on KZread. I think it's a natural change, and it seems that a lot has changed in this form, especially during the pandemic. In the past, I must say I didn't live in those days, there must have been some people who were not happy when they changed from LP to CD. Especially those who liked LP and preferred an analog way. There are some people who are a bit reluctant to change from CD to streaming, but I think it's just natural. I understand both those who dislike it and those who like it. 19:07 I'd like to ask about your recital in July. What program are you putting out? Could you share if there are any specifics? A. There are a total of five recitals this July to my knowledge, two in Seoul and three in other cities. The programs I am doing these days are Handel, a Russian composer named Sofia Gubaidulina, Chaconne, and Brahms Handel variation. And in part 2, several pieces from Klavierstücke, Op.76, and Schumann's Symphonic Etudes. I plan to perform the program in Seoul as well. The theme of this program is Baroque and Variations. Gubaidulina and Chaconne, of course, are not Baroque when you listen to them, but I thought that they fit well with Handel because they have a baroque structure and also share the form of variations. And the second program that I am planning to play is 'Mirror', a work by Ravel. So Part I will consist of Brahms and Ravel and Part II Schumann Symphonic Etudes. 20:25 You've said that baroque music allows a wide range of latitudes for the performers. In some cases, improvised rubato, embellishments, and note variations are also adapted. What do you think of this trend of emphasizing spontaneity? A: I tend to think ornamentations are necessary. Usually, suites are of dances from the olden days. Speaking of timing and things of that nature, to understand the dance, I think that making a dance piece too anchored can be a little difficult to dance at. I think it's important to play along with that dance piece as intended, you play Allemande to be Allemande or Sarabande to be Sarabande, but at the same rate, each one of us as a human has a different idea or concept, so I put more regards on timing and ornamentation than rubato. 21:15 You said it would be nice if a day had 30 hours, but I wonder how you would like to spend your 30 hours. Also, with your 30s approaching, I wonder if there is a part where you feel a change in your heart in particular, and what kind of 30s you want to face. A: With 30 hours, I think I would be able to practice a lot more and take more breaks. I think 30 hours would help me adjust to jet lag more quickly. When I went to Korea from here today, I would be able to land there today. Due to the time difference, if I leave here today, I land in Korea tomorrow. I might be able to make it within the same day by a narrow margin. Haha. And in my 30s, I don't know, I like K-pop singer Kim Kwang-Seok, but there were a lot of songs like this, now that I was close to 30, the sense of becoming 30 years old(His international age is still 28, Korean ages are counted differently) daunted me. Now I am 30 and things haven't changed much for me compared to several months ago, LOL. 22:14 Everyone knows Handel, still, the general public does not like to pick him up for piano pieces to listen to. I think the interest in Handel is already rising as pianist Seong-Jin Cho released this album. As a musician with such an influence, what role would you like to play in the classical music world? What do you think The Handel Project will mean for your journey as a pianist? A: I think Korean elementary school, middle, and high school students majoring in music can play Handel's music, and I hope to see Handel's music played more often. When I was a child, at competitions I participated in, I tended to play repertories that were a bit flashy. In terms of technique, those repertories are much more difficult, but because of the impact they rendered, they have been played a lot in competitions. Of course, I don't mean that those repertories are not as good by any means, but I think that if you study Handel and other works of such, it will benefit you. It would be better to balance out by exploring music like this too, rather than to pursue an overly flashy repertoire. I don't have a role I want to play in the world of classical music, I don't wish to have one. I've said it before; I'm doing this because I like it. I may be a very selfish person, but I do music because I like it, and showing people and audiences such good music, cool music, and great music has meaning for me, so I don't really think about my roles in it. And speaking of the journey, I ended up recording diverse repertoires. It's not like I had planned. When I intuitively felt it was time, I did Baroque music, not that I put too much meaning into it. 24:26 How successful do you see yourself as a professional musician? A: Um, being successful. . . . I really think one's music and career must be regarded as two separate things. Because many good musicians do not have good careers. Yet, in terms of career, the difference from the past is that I had a lot of thoughts of wanting to do something in the past. I want to do it with the Berlin Philharmonic or at Carnegie Hall, I think a lot of that is gone. I don't know if it's because I have already been there or will be there again but I think it's more important to perform with certain people, one that you align with. It does not necessarily have to be a very fine orchestra or the established, and it is more important to play with people who are in line with you even if they are not very recognized, people who have a lot of heart even if they are not very famous, people who are musically good, and people who have good personalities. It doesn't seem to have anything to do with how successful I was in my career. Again, I don't know how to tell you. 26:00 What makes you happy these days? A: I think I diagnose happiness every day, and I ask many of my friends. I think it's really difficult to find what makes you happy, by its definition. I was not so sure anymore if I was happy because I went on to pursue happiness. So when I lay back and look back at where I stand, I find myself the happiest when I come home and rest after touring. While resting . . . I felt more that I am not very fond of things like meeting so many people. Resting for me is: practicing at home, resting, buying new sheet music, and learning, and I think these make me the happiest. I am happy to watch dramas or movies, too. My recital tour starts tomorrow. I recital a lot in German cities such as Hannover and Düsseldorf, and I have recital tours planned in London, Vienna, and Milan, with this Handel program. And I don’t think I should talk about the next album yet. Is that right? (It appears Seong-Jin looks up and asked someone from Universal Music Group).

꿀목소리에 말씀도 참 잘하시네요~~^^♥

성진님 닮은 앨범 잘 듣고 있습니다💝

多様な質問に真摯に答えてくれてありがとうございます。 心から尊敬しています。

@kyungheesuh3718

Ай бұрын

😅😅

0:42 지금 들으신 곡은 'Handel : Meunuetto in G minor(arr. Wilhelm Kempff)'이었습니다. 어디서 어떻게 촬영이 됐나요? 1:34 최근 근황 : (네제-세겡, 피라델피 협연 등) 미국과 유럽 투어도 있고 코로나 19 시기에도 해외에서 가장 바쁜 연주자 중 한 명인데, 어떻게 지내고 있는지? 2:47 제가 볼때는 코로나 19 1년 2년 3년차인데 다른 아티스트하고 비교했을 때 성진 씨의 연주는 그렇게 많이 코로나 19 때문에 위축이 된 것 같지는 않아요? 4:00 레코딩 데뷔 8년차로 여섯 번째 정규앨범인데(실황, 괴르네 콜라보까지 포함하면 여덟 번째), 그동안 고전과 낭만을 아우르다 이번 처음으로 바로크는 처음이다. 바흐가 아니라 헨델을 선보이게 된 이유는 무엇인지 7:04 앨범명이 [헨델 프로젝트]다. 30대 되면 브람스에 도전하고 싶다고 했는데, 이 음반이 그 연결선상에 있을까? 7:50 하프시코드와 현대 피아노의 가장 큰 차이점은 무엇이라고 생각하는지? 주력했던 포인트는? 10:44 이번 녹음 관련, '트레버 피녹' 연주에서 영감을 받았는데, 혹시 새로운 곡을 녹음하기 위해 공부할 때 다른 연주자들의 연주/녹음도 참고하는지? 11:38 베르크 소나타나 이번 헨델처럼 의외의 선택도 많이 하시는데 레퍼토리 넓히는 고민도 많으시죠? 13:00 작년 9월 베를린 지멘스 빌라에서 녹음했는데요. 드뷔시 녹음과 같은 장소였는데 이곳은 어떤 분위기와 장소였나요? 14:28 그렇다면, 바흐 평균율이나 베토벤 소나타 전곡은 언제쯤 만나 볼 수 있을지 궁금합니다. 꼭 몇 살 때라고 말씀하시지 않으셔도 되는지? 15:10 오랜시간 피아니스트 활동했는데, 슬럼프가 있었나. 있었다면 어떻게 극복하느냐, 좋아하는 일을 오래 하기 위한 방법은? 레퍼토리를 계속 찾는 일은? 17:47 요새 클래식 음악을 듣는 환경(디지털 공개 등)이 많이 바뀌었다. 성진 씨는 어떻게 듣나요? 19:07 오는 7월 리사이틀에 대해 여쭤보고 싶습니다. 어떤 프로그램을 연주하려고 하시는지. 구체적인 프로그램을 알 수 있을까요? 20:25 바로크 음악은 연주자들에게 폭넓은 자유재량을 허락한다고 말씀하신 바 있는데요. 어떤 경우에는 즉흥적으로 루바토를 하고 장식음을 넣거나 음을 변형해 연주되기도 합니다. 이런 즉흥성을 강조하는 경향에 대해서 어떻게 생각하시나요? 21:15 하루가 30시간이면 좋겠다고 했는데, 만약 하루가 30시간이라면 하루를 어떻게 쓰고 싶은지 궁금합니다. 그리고 30대가 다가오고 있는데 특별히 심정적인 변화를 느끼는 부분이 있는지, 어떤 30대를 맞이하고 싶은지 궁금합니다. 22:14 헨델은 누구나 알고 있지만 일반 대중이 피아노 연주곡으로 듣기 위해 즐겨 선택하지는 않는 것 같은데요. 조성진 피아니스트가 이번 음반을 내면서 헨델에 대한 관심도 벌써 늘고 있다는 생각이 듭니다. 이러한 영향력을 가진 음악가로서 클래식 음악계에서 하고 싶은 역할이 있으시다면 무엇인지 궁금합니다. / 헨델 프로젝트가 피아니스트로의 여정에서 어떤 의미가 되리라 보시나요? 24:26 본인은 전문 연주자로서 어느 정도 성공했다고 보는가 26:00 요즘에는 어떤 것에서 행복을 느끼는가? 27:42 피아니스트로서 감동적인 순간은 없나? 29:23 작년 미국 연주 일정 중 트렁크를 분실해 캐주얼한 복장으로 연주해 화제가 됐었는데 당시 상황 이야기 좀 해주세요 30:35 쇼팽 콩쿠르 우승 이야기를 하고자 한다. 많이 나오는 질문일텐데 33:03 최근 재밌게 보신 드라마나 영화도 궁금합니다. 33:49 좋아서 음악가로 산다고 했지만 그래도 청중이 없으면 연주를 할 수 없는데, BTS가 인터뷰 때마다 너무 큰 성공을 거두니까 찾아 주는 사람이 언젠가 없어질텐데 어떻게 안정적으로 추락할까? 그런 거에 대한 고민? 스트레스가 많다고 했는데 성진씨도 팬덤이 지금처럼 큰 상황이 게속 될 수는 없을텐데 그런 거에 대한 생각? 고민은 해본 적이 있는지 궁금합니다 34:34 마지막 인사말

@young._.-

Жыл бұрын

32:52 쎄게 말을 했는데 아무도 그걸 기사로 안내주신 것 같아요 (정적) 무서웠나 33:46 더 글로리 재밌게 봤습니다

@nyaunt1796

Жыл бұрын

@@bachadmirer 그니까요 ㅠㅠ

@gloria_74

Жыл бұрын

마지막 안들리는부분 우째 좀 알려주시면 안될까요?

@nyaunt1796

Жыл бұрын

@@bachadmirer kzread.info/dash/bejne/Zn-Yo7qqYrOXqNI.html 여기 보셔요~!

30대에는 브람스를~그 이야기 하셨을때 아 내가 40대가 되면 들을 수 있겠구나 했는데^^;; 시간이 이렇게 빨리 흐를줄 몰랐을거예요. 성진님의 브람스를 기다리고 있지만 천천히 준비되면 들려주세요^^

말도 아주솔직하시다 ~~

이번 앨범 너무 너무 좋습니다. 조성진님의 바흐가 너무 기대됩니다. 감사합니다.

바하도 브람스도 베토벤도 다 기다릴께요. 항상 너무아름다운 연주 들려주셔서 감사합니다. 언제나 응원합니다

***Here is the translation (1)*** The uploader explains that this video was provided by Universal Music Group to them and was edited only to include the artist in the picture. The appearances of reporters who were asking questions as well as the Universal Music Group officers were edited out of the picture. [Seong-Jin plays Handel, Meunuetto in G minor, arr. Wilhelm Kempff] 0:42 Where and how was it recorded? A: The recording was done in September last year in Berlin. I spent 5 days in the recording studio, but there was no recording on the 5th day. A few people were invited to sit in the audience, and I played the program from start to finish like a live performance. My understanding is that it's being streamed today on Deutsche Grammophon, Stage+. And some of the tracks, which I thought were better, were extracted from the performance. When I'm recording, I always try to have an audience if possible to give it a live feel. It was like that this time too. This Kemp version, though, I played it as an encore after the performance was over. 1:34 Recent status: (collaboration with Yannick Nézet-Seguin, Philadelphia, etc.) You have tours in the US and Europe, and you are one of the busiest performers abroad even during the pandemic. How are you doing? A: I came back to Belin from Salzburg Yesterday. I'm at the Universal Music Group studio now. It's my first press conference through Zoom. I came here because I didn't want to take chances in case I dropped the ball while doing it on my laptop at home. I was in the US for almost throughout January and performed with the Philadelphia Orchestra. I came back after a recital in Seattle and LA. Then, I went to Frankfurt to perform. I have been very busy, as busy as pre-pandemic. Since the fall of 2021, I am almost back to pre-pandemic routines. In the beginning, I had a bit of a hard time getting used to it after a year-long break. I like living a busy life like before because it makes me feel alive, and makes me go through a lot of things that motivate me. 2:47 This is the third year of the pandemic. Compared to other artists, your concerts have not been hit as hard. A: At first, in the first half of 2020, I only held online concerts. I spent a lot of time at home and became anxious. I didn't know what was going to happen. No one had gone through this before. On the other hand, I like having time alone. I was able to focus more on music, and that was the time that I thought about recording Handel's works. Oh, of course, that was my own idea. I hadn't consulted with Deutsche Grammophon or anything yet. At that time, I bought a lot of sheet music and spent a lot of time just playing the piano for myself at home. Not only Handel but also Beethoven, Bach, etc. I did a lot of stuff that I couldn't normally do because I didn't have time. At that time, I felt deeply related to Handel's music, so around that year, 2020, I thought to myself it would be nice to record Handel a couple of years later. 4:00 Recording: This is your 6th full-length album since your debut album 8 years ago (your 8th if you include your live recording and your collaboration with Goerne). Your repertoire ranged from the Classical era to the Romantic era but this is your first Baroque music recorded. Why Handel, not Bach? A: To be honest, I also thought that I wasn't ready to record or play Bach yet. I admire both composers so much, but to say it, Bach is a bit more intellectual and more complex while Handel's keyboard suite comes more from your heart and is more melodic. I hadn't had much exposure to Baroque music, so Handel's music was a little more easily approachable as a starter, but as I was studying, I came to think that Handel's music is as formidable. When I was young, I attended the Academy for Gifted Children at the Seoul Arts Center, and my Solfege teacher told me at that time that it would be good to record all of Bach's Das Wohltemperierte Klavier and all of Beethoven's Sonatas in my 20's. Now that I'm in my late 20s going into my 30s, I understand what my teacher was talking about. So for Bach, you take your time . . . not just Bach, I think Baroque music is the kind of music that takes you on a long journey. It seemed to take longer than other genres of music for you to comprehend, for your hands to feel at ease, or for you to gain some confidence. So when I was preparing for this Handel album, I think I practiced the piano more than ever in my entire life. In particular, I think I practiced the most last February. A tour was planned at that time, but it was canceled. So, I had time to stay at home for a month. At that time, I think I practiced 7-8 hours every day. Not that I planned, I bought both books 1 and 2 and played them from beginning to end by sight reading. I played it throughout the day, and out of all of them, I picked the ones that came to mind. I think it's really hard to explain why I like the ones that I like, as in why I like this particular music. I think it's rather easy to explain why you don't like it, but I think it's a bit difficult to explain why you like it. I chose my favorite pieces. Brahms was influenced by and inspired by the Handel Suite when he composed The Variations and Fugue on a Theme by Handel. So I thought it would be only natural to include it in terms of flow.

예술의 전당이나 롯데콘서트홀에 제발 제 자리 하나만 주세요~ㅎㅎ 7월 콘서트 꼭 가고 싶어요^^

인터뷰감사합니다 헨델 바흐 잘듣고있어요

23:16 이거 정말 충격적인 답변이네요. 정말 좋아서 하는 일…

@kpluvmusic5876: Thank you so much for the excellent translation of Seong-Jin Cho’s interview. I find him very humble, honest and not pretentious at all. He just performs because of his great love for music and strives to play his best. I wish him all the best in his career and hope to be able to see and hear him play one day.

@kpluvmusic5876

Жыл бұрын

Oh, thank you. It's always pleasure!

필라델피아 오케스트라와 협연에 브람스 피아노 협주곡2번을 가까이서 들으며 갖었던 설렘과 감동의 소중한 시간이었습니다. 조성진님의 피아노 리사이틀이 아니라 좀 아쉬웠어요..^^ 새 앨범도 기대해봅니다

고급스럽고 우아한 연주 잘 듣고가요 역시 갓성진♡

성진조!❤옥체보존잘하세요 라뷰

Soka 공연에서 앵콜곡으로 들었을때 진짜 눈물났어요. 너무 좋아서요. 지금생각해도 행복하네요!

어제 앨범받고 들었는데 너무 좋아요ㅠㅠ 듣다보면 조용히 피아노 소리에 집중하게 됩니다.. 덕분에 아름다운 바로크음악을 감상하게 되서 행복합니다..

이번 헨델곡 들을수록 빠져들게되네요. 너~무 좋습니다♡♡♡

목소리에또한번반함^^

Thank you so much for the very valuable video.

***Here is the translation (4)*** 27:42 Are there any moving moments as a pianist? My life does not distinguish the two [Translator: I think he means between happiest moments and moving moments] like that. But recently, not even recently, there seems to have been an emotional moment while performing. Last year, I performed with the Vienna Philharmonic at Carnegie Hall. At that time, the war broke out and I ended up stepping in. I practiced all night. I hadn't played Rachmaninov's No. 2 for almost three years(SJ slows down to think), so even if I practiced all night, it wasn't enough. I was required to be tested for Covid-19 again after practicing all night. I couldn't be tested positive at that time, and I was happy that the results came out negative in such a tense situation. I practiced again, rehearsed, and finished performing. To be honest, I don't really remember how I performed. I was so nervous. But anyway, I got the feeling that I got it done safe and sound, it was over. And as soon as it was over, we hugged, Yannick and me; it was more touching than performing itself that night. 29:23 Last year, during a concert tour in the US, you lost your luggage and became a hot topic for playing in casual attire. Please tell us about the situation at that time. A: I traveled to San Francisco from Berlin, there was no direct flight, so I made a stopover in Paris. The flight from Berlin to Paris was delayed, and my luggage was in Paris. I couldn't go to San Francisco, and my schedule was packed at that time. Since I had to perform at Berkeley University, then go to Orange County, and then go straight to Boston, I just asked for my luggage to be sent to Taiwan. So I received help from different people. Sure enough, I had to give my first performance in the United States in sneakers, but the next day, I borrowed a suit from someone and from my friend, pianist ChangYong Shin during my Boston recital. It was a US tour that I was very indebted to. 30:35 I would like to talk about winning the Chopin Competition. It must be a question that comes up a lot. A: I think I experienced it firsthand starting a little over a year ago. Whenever I do interviews abroad, I would be asked, " Ah well, Koreans are really good at it these days. What's the secret?" My response would always be, "I don't know. They have been good all along." I think it's not surprising. I always think that because this is the European market and European music, there is no choice but to feel a bit awkward, although I wouldn't call it a disadvantage. For example, when Europeans come to Korea and perform Gugak[Korean Opera], they may look a little different. It might look a little out of place, but then you have to brace it and do better. Those Koreans are better at Korean traditional music, so Europeans have to do even better to promote themselves in Korea. Having said that, I have always thought that there are many Korean musicians who are more excellent in comparison. I think it is only fair that they are receiving such attention. Reporters always ask me why so many Koreans partake in competitions. I am against the opinions that are against participation in competitions. I am not a fan of competitions. Still, I've been through that experience a lot, and there may be no other chance. It's also the easiest way. If you make it at that competition, you get recognition, a chance to perform, you play well and sign a management contract, I think that is the easiest route. When reporters ask me why there are so many of them, I make my point very clear, but no one seems to write about it in an article. I guess I scared them off, haha. 33:03 What drama or movie have you enjoyed recently? A: You can say I only listen to classical music. Sometimes, when my friends introduce me to K-pop, I listen to it, but I wish I knew better. So I don't know what to listen to, and of course, I know famous groups such as BTS, but I do apologize that I don't have a lot to say. I don't have much time to listen to classical music, so when I have time, I listen to classical music. And as for dramas, I tend to watch dramas instead of listening to music on a flight. I enjoyed watching The Glory. 33:49 You said that you live the life of a musician because you like it, but you can't play the piano without an audience. Just as idol groups at the top like BTS fear not making a soft landing, is there any concern about the continuity of the fandom for you? A: I don't have a fan base nearly as big as BTS, I seem arrogant if I said that I've worried about it. I would still be grateful if I could have 1,000 to 2,000 people in one city, who came to my concert. I felt that way before and I still feel the same way. I am in a position to think of rising, not about falling. I find it interesting that the press conference was held on Zoom. Thanks for coming, especially on the weekend.

Thank for uploading

인터뷰 감사합니다. 요사이 bu글bu글🔥🔥 할때 성진님의 클래식으로 기분전환도 하고 긍정적으로 해석하려고 노력합니다. 인터뷰속 모습 너~~~~무 귀여우시네요😊🥰+평범함 속 비범함美🙏♥️

[공지] 줌으로 녹화 되는 부분은 실제로 직접 카메라로 유튜브나 네이버로 하는 공개 행사가 아닌 이상은 한계가 있습니다. 줌의 특성을 고려해 주십시요... 유니버설뮤직 측에서 영상을 제공했고, 유니버설뮤직 관계자와 기자들의 질문 얼굴을 제외하고 아티스트 분 편집으로 제공 해드리는 겁니다. 그러니 줌의 특성을 고려해 주십시요.

다음 앨범은 아직 말할거같으면 안될거 같은데..요 ㅋㅋㅋ 안 귀여울 포인트에서 귀여워

영상으로만 보면서 티켓 구하기도 너무 힘들고... 히융.... 왜 이리 자꾸 듬직하고 멋진 인간인 모습들을 보여주는 거예요? 미워요. 근데 좋아요. 아쉬운데 과분하고 마음으로 써 내려가는 손끝의 소리에 저도 한번 닿아보고 싶다구요!!!

이번 앨범 소중하게 듣겠습니다 🥹 올해 한국에서 연주 많이 하시는데 꼭 공연장에서 자주 뵐 수 있길 바라요 감사합니다❤

늘 응원합니다

어제 cd사서 집에서 듣고 있습니다^^ 새해도 건강하세요!

조성진 보유국 정말 자랑스럽네요❤❤❤

좋은 이야기 잘 들었습니다.😊

이번 앨범 진짜 좋아요. 👍🏻

How gorgeous of a sound can one produce? Grazie Maestro! Splendid

귀여워 ㅜㅜ

주문했는데 너무 기대가 되네요..^^ 피아니스트 조성진 자랑스럽습니다!! 앨범 천천히 잘 들을께요. 감사합니다.

팬덤관련 질문? 드라마 질문 이후 음성 안 들리는 거 저만 그런가요? 마지막 인사말은 들리는데ㅜㅜ

마지막 쯤 왜 소리가 안나오죠😢

마지막 인터뷰 질문 뭐 이딴 얼척없는 질문을 하냐 젊은 피아니스트한테;;; 앞으로 콘서트를 50년을 더 해도 제발 기력 닿는 한 더 연주해주세요 싶겠구만 어이가없네 참나

27:40 귀여워 ☺️

성진님 사랑합니다 ❤🎉😊

하고 싶은 말 다~ 해요~~ 자기검열 너무 하지 마요~~ 다 이해할게요😍

창용신에게 옷빌려입으셨군요..두분우정응원합니다~^^~

@katelee7410

Жыл бұрын

어떻게 아세요?

@lilyoh4642

Жыл бұрын

@@katelee7410 인터뷰 보시면 조성진님 답변에 나오는데요

😍👍🙏

좋아하는 데는 별 이유가 없어도 싫어하는 거는 이유가 있는 법이지요.

탈 인간급 남신

그동안 무슨 일을 겪었는지는 모르겠지만 확실히 20대초반에 하던 인터뷰랑 많이 달라졌네요. 예전엔 뭔가 자기 말에 확신이 많고 자기가 생각하는 아티스트 이미지가 있어서 그 틀에서 안 벗어나려고 절제한 느낌? 약간 어린 나이에 참 고집 있고 좋네 이런 생각이 들었는데 여기서 하는 말들 들으니 뭔가 사고가 유연해졌다해야할까요. 뭔가 심경의 변화가 생기셨나 흠. 계속 성장하는 아티😮스트 느낌이 나네요. 좋아요 ❤❤

마지막 인사 전에 질문... 너무 궁금한데 .....

캭 ㅠㅠㅠㅠㅠ

가와이 ㅠㅠㅜㅜㅜ

English subtitles at least ……..

@kpluvmusic5876

Жыл бұрын

See the comment section below for the translation :D

32:17

질문 수준이 ....왜 이러죠😢

@user-sf7xi3ed5x

Жыл бұрын

이런 질문에도 성실히 답변해주시는 겸손함 성실함 ㅎ

말하는 것도 음악같다.....

악 더글로리 ㅋㅋ

조성진이 왜케... 이상한 퀄리티의 인터뷰를...

조성진 음악은 아름다운데 ..피아노 연주할 때 그의 오만가지 느끼며 찡그린 표정을 보면 느낌이 '싹!' 사라진다. 그런 표정좀 안지으면 안돼요? 음악에 몰입하기 힘들다.

@user-vz5jh3oz6f

Жыл бұрын

보지 마세요. 누가 강제로 보래? 웃기는 양반일세 ㅋㅋ

@summacumlaude999

Жыл бұрын

퉤

@Per567

Жыл бұрын

뭔 버러지가 음악을 듣노 그냥 잠이나 계속자라

@tv-ck2vv

2 ай бұрын

오만가지 느끼니 그런 연주가 나오죠~

@user-mf9mq2zr2z

2 күн бұрын

그런 표정은 연주자의 감정에 따라 자연스럽게 나오는데 무슨 소리하는지? 긴곡 연주하면서 감정표현없이 무 표정으로 연주한다고 생각하면 그게 더 끔찍함