Yunchan Lim Digital Program Book by Lied Center for Performing Arts

YUNCHAN LIM, PIANO

FRI, NOV 1, 2024 7:30 PM

GOLDBERG VARIATIONS, BWV 988

J. S. BACH (1685-1750)

1. Aria

2. Veriatio 1. a 1 Clav.

3. Veriatio 2. a 1 Clav.

4. Veriatio 3. a 1 Clav. Canone all’Unisuono

5. Veriatio 4. a 1 Clav.

6. Veriatio 5. a 1 ô vero 2 Clav.

7. Veriatio 6. a 1 Clav. Canone alla Seconda.

8. Veriatio 7. a 1 ô vero 2 Clav.

9. Veriatio 8. a 2 Clav.

10. Veriatio 9. a 1 Clav. Canone alla Terza.

11. Veriatio 10. a 1 Clav. Fughetta.

12. Veriatio 11. a 2 Clav.

13. Veriatio 12. a 1 Clav. Canone alla Quarta.

14. Veriatio 13. a 2 Clav.

15. Veriatio 14. a 2 Clav.

16. Veriatio 15. a 1 Clav. Canone alla Quinta.

17. Veriatio 16. a 1 Clav. Ouverture.

18. Veriatio 17. a 2 Clav.

19. Veriatio 18. a 1 Clav. Canone alla Sesta.

20. Veriatio 19. a 1 Clav.

21. Veriatio 20. a 2 Clav.

22. Veriatio 21. a 1 Clav. Canone alla Settima.

23. Veriatio 22. a 1 Clav.

24. Veriatio 23. a 2 Clav.

25. Veriatio 24. a 1 Clav. Canone all’Ottava.

26. Veriatio 25. a 2 Clav.

27. Veriatio 26. a 2 Clav.

28. Veriatio 27. a 2 Clav. Canone alla Nona.

29. Veriatio 28. a 2 Clav.

30. Veriatio 29. a 1 ô vero 2 Clav.

31. Veriatio 30. a 1 Clav. Quodlibet.

32. Aria da capo

PROGRAM NOTE

GOLDBERG VARIATIONS, BWV 988

J. S. BACH (1685-1750)

Composed and published in 1741, the Goldberg Variations are named after their first performer, Johann Gottlieb Goldberg, one of Bach’s students. Though the work’s origin story (as recounted by Bach’s first biographer Johann Nikolaus Forkel in 1802) is almost certainly apocryphal, the tale is nevertheless a compelling one. According to Forkel, one Count Kaiserling of Dresden suffered from chronic insomnia and would ask Goldberg, who lived in his household, to play music to calm him during sleepless nights. Upon learning of the Count’s (and Goldberg’s) predicament, Bach composed the Variations as a soothing distraction – a musical equivalent to counting sheep. The story goes that Kaislerling was so pleased with the composition that he gifted Bach a goblet filled with 100 gold coins. Though the lack of a dedication to the Count on the score’s title page, which simply reads “Composed for connoisseurs, for the refreshment of their spirits,” casts doubt on the tale’s veracity, the entertaining lore continues to be retold.

The Goldberg Variations consist of an opening aria followed by 30 variations and a final restatement of the aria. The work is unquestionably monumental in scope, but its true brilliance lies in Bach’s seemingly endless ingenuity in reimagining the main theme through a vast series of time signatures, moods, textures, and harmonic alterations. The aria itself is a richly ornamented sarabande – a slow, triple-meter dance with Spanish origins, adorned in the French style. Rather than following the aria’s melody, the variations build upon its bass line and chord progression, allowing Bach the freedom to continually recast the original tune. When the opening aria at last returns to place a concluding bookend on the work, the music’s striking simplicity speaks to the diverse intricacy of the preceding variations.

Virtually forgotten after Bach’s time, the Goldberg Variations were reintroduced to modern audiences in 1955 when 22-year-old Canadian pianist Glenn Gould recorded the work for his debut album with Columbia Records. The album became one of the best-selling classical recordings of all time, with Gould’s interpretation lauded for its “dazzling clarity of texture and kaleidoscopic range of tone colors,” as well as its “emotional richness.” Since then, Goldberg has been recorded over 600 times on various instruments and remains a popular showcase for concert performance.

Note by Laney Boyd

YUNCHAN LIM, PIANO

Since becoming the youngest person to ever win gold at the Van Cliburn International Piano Competition at the age of 18 in 2022, Yunchan Lim’s ascent to international stardom has been meteoric. Marin Alsop expressed: “Yunchan is that rare artist who brings profound musicality and prodigious technique organically together”.

In the years following his Cliburn win, Yunchan made successful orchestral debuts with the New York, Los Angeles, Munich, and Seoul Philharmonic orchestras, as well as Chicago, Lucerne, BBC, Boston, and Tokyo Symphony orchestras among others. Recital appearances include performances at Carnegie Hall, Verbier Festival, the Wigmore Hall, Het Concertgebouw, and Suntory Hall, among other major stages.

Lim’s 2024/25 season highlights include orchestral debuts with Washington National Symphony, London Symphony, Royal Philharmonic, Vienna Radio Symphony, Berlin Radio Symphony, and WDR Symphony Orchestras, as well as returning to New York Philharmonic, Lucerne Symphony Orchestra, and Orchestra de Paris. This season will also see his recital debut at the Kennedy Center, and a return to Carnegie Hall.

As an exclusive Decca Classics recording artist, Yunchan Lim’s acclaimed debut studio album, Chopin Études Opp.10 & 25 has gone double platinum in South Korea and topped the classical charts around the world. His previous releases include Liszt’s Transcendental Études (Steinway & Sons); Beethoven’s Piano Concerto No. 5 “Emperor” (Universal Music Group); and his appearance on KBS’s 2020 Young Musicians of Korea album.

Born in Siheung, Korea, Yunchan Lim began piano lessons at age 7. He was accepted into the Korea National Institute for the Gifted in Arts at age 13, where he met his teacher and mentor, Minsoo Sohn. In 2019, aged only 15, he became the youngest person to win Korea’s IsangYun International Competition. Yunchan currently studies at the New England Conservatory of Music with his teacher Minsoo Sohn.

MARY-ANN K. CLINTON

My late husband (John) and I have loved music all our lives. However, our passion for classical piano started in 1967 when we learned that our four-year-old son Mark had extraordinary musical talent. From that time, we dedicated our efforts to help him develop his God-given talents. We recently discovered that Mark’s paternal grandmother was such an accomplished pianist that she had been awarded a music scholarship to attend Boston University in the 1930’s. Due to family reasons, she never fulfilled that dream. This made us realize that although God works in wonderful and mysterious ways, family genes may also have been involved. Following our move to Lincoln, John and I soon found a home for all things musical and cultural at the Lied Center. The growth of the Lied Piano Circle allowed us to contribute to having some of the best piano music in the world on the Lied stage. Our musical journey has been wonderful one, and my continued participation in the Piano Circle is an honor and privilege. I look forward to this year’s Piano Circle artists as they provide another season of exciting performances for our Nebraska audiences.

ANABETH H. COX

As the only member of the Piano Circle without a history on the piano, I must admit that my love of piano performance comes as a result of my sister, MarySue Harris. Her love of the piano, her 40+ years of teaching piano, and her joy in the performance on the piano, have sealed my commitment to perpetuating that love for the children, and the children at heart, in the beauty of the music written for the piano. I’m grateful to be a part of bringing that beauty to the Lincoln community. I can’t play the piano, but I can love it!

MARYSUE HARRIS FOUNDATION

The Piano Series, offered by the Lied Center, is truly an opportunity to hear first-rate piano performances throughout the year! Before the Piano Series, there was some poor attendance at piano concerts, but there is so much interest now, both in the Series and in the active response to the pianists, it is most gratifying and fulfilling!! There is an increased awareness of the excellent pianism and an expectation from the audience of a higher standard of performance overall!

As a life-long, performing pianist who taught piano for over 40 years, and had many students win top honors in competitions, MarySue was so thrilled with the resounding success of the Piano Series.

MarySue passed on in February of 2024.

KEITH HECKMAN

Having been a dealer in fine pianos for more than forty years, it gives me great pleasure to continue to provide Lincoln and the surrounding area the opportunity to hear some of the great artists of the world. It is also fulfilling to assist young piano students with interacting with excellent teachers and clinicians. What a treasure the Piano Circle is for the Lied.

CHARLOTTE HEERMANN

The Piano Series initially featured in the 2013–14 season of the Lied Center has enhanced the season program and promises to continue to do so in the 2023–24 season. Our community has had the special opportunity to experience piano performances of the highest quality presented by internationally acclaimed pianists. The response has been enthusiastic and has raised awareness and expectations of even more outstanding performances.

As a performing pianist and teacher for many years, I am particularly excited by the opportunity for students to hear some of the best pianists and performances in the world. What an inspiration! I look forward to another outstanding season with exceptional pianists and performances offered by the Piano Series.

MRS. LARRY H. LUSK

The piano is truly an international musical instrument, bringing wonderful talent from around the world to the Lied stage. The Lied Piano Series features outstanding artists, showcasing the endless variety, creativity and beauty of artist and this glorious instrument.

We welcome these artists to the Lied Center for all to enjoy.

CHRISTOPHER MARKS & JESSICA FREEMAN

We have loved the piano and the repertoire written for it since we were each very young. The Piano Circle concerts at the Lied Center have brought stellar artists to Lincoln and have been an exciting addition to the arts landscape here. We are very happy to be able to support the continuation of this series.

MARGARET OZAKI AND FAMILY IN MEMORY OF JOAN REIST

My mother spent her life teaching young people to play the piano and loved helping bring world-class pianists to the Lied Center, especially because it offered an opportunity for young people to hear them perform.

Music was her passion and she believed it made everyone’s life richer. She made sure it was a part of my life and her grandchildren’s lives and her family is honored to help carry on that passion through the Piano Circle and another season of outstanding performances.

RHONDA SEACREST

Since the early 1980’s, a priority of mine has been to provide visual and performing arts to underserved populations in Nebraska. The Piano Series is a wonderful extension of that objective.