Beethoven: Piano Concerto No.5 “Emperor”
Isang Yun: Exemplum in Memoriam Kwangju
Barber: Adagio
Yunchan Lim (piano)
Seokwon Hong / Gwangju Symphony (DG)
(scroll down for English review)
任奫燦贏得克萊本大賽的首張錄音，今年十月八日在韓國統營的現場錄音，沒看他上月香港演出的朋友（包括我）可藉此一瞥他的明星魅力。他彈貝多芬《皇帝協奏曲》，居然又快又響又乾淨，好像聽以前的蘇聯鋼琴家般，以此曲來說，彈成這樣根本都不用理詮釋了。（當然要聽現場才能確定。）
他令我想起在上屆蕭邦大賽拿了第二的反田恭平，反田有個訪問說自知指力不及西人、尤其是俄羅斯人，所以有意識的去鍛練體格。聽任奫燦這個《皇帝》，更覺得年輕鋼琴家一窩蜂去彈最柔和的貝多芬《第四鋼琴協奏曲》，還以為很有深度。
軌六至八是他的三首安歌，明明選彈較內斂的小曲，觀眾反應還是像追星的。這碟我覺得很有意思的，反而是現代管弦樂曲尹伊桑《悼念光州的例示》（軌四），音樂會所舉行的統營就是尹伊桑的出生地，這隊樂團就是光州交響樂團。顧名思義樂曲是悼念光州事件，二十分鐘可當成快慢快三部分，喜歡蕭斯塔高維契《第11交響曲》「1905年」應該對這種描繪血腥鎮壓的音樂有興趣。樂隊其實只需90，三管編制，連定音鼓在內的敲擊樂也只是得五人，奏出來很響但不凌亂，如果在韓國發展的吳懷世能和港樂合演此曲就好了。
After taking the Van Clibun competition by storm, Yunchan Lim’s first post-competition recording was captured live in Tongyeong, the birthplace of Isang Yun. Lim’s Emperor Concerto was jaw-dropping, it’s quick, precise and powerful, reminiscent of some notable Soviet pianists. With such pianistic prowess it doesn’t mean much to discuss the interpretation. He played three encores, which are placed at the end of the CD (tracks 6-8). Despite the pieces’ introspective qualities the audience went ballistic after each one.
What makes this CD unique is Isang Yun’s Exemplum in Memoriam Kwangju (track 4). Written as a memorial to the bloody Gwangju Incident, it was hardly recorded. The authenticity of this performance can hardly be doubted as the orchestra here was precisely Gwangju Symphony and as mentioned, this was taped in the composer’s birthplace. The 20-minute piece might well be heard as a fast-slow-fast three-movement work, and in the same vein as Shostakovich’s Symphony No.11. Despite the blasts the orchestration is just for an orchestra of 90. Very efficient orchestration and personally, an easier listen than that Shostakovich symphony.