這是我在2019年八月底在義大利博爾札諾的布索尼鋼琴大賽的其中一個採訪。受訪者為韓國青年鋼琴家羅承赫(Seunghyuk Na)，目前仍在韓國就讀首爾國立大學(Seoul National University)。在進行採訪時，我覺得羅承赫是個非常有想法的音樂家，他也是我花最多時間，採訪篇幅最長的一位。以下為採訪逐字稿，採訪語言為英語，此篇為筆者自己翻譯的中文版本。(下面有英文原稿)
Nakaw：謝謝您接受我的採訪。
羅：哦！我好緊張！這比彈鋼琴要難。
Nakaw：不，請您不必緊張！
羅：鋼琴比我的嗓音更優美，這就是為什麼我很緊張。 [笑]
Nakaw：[笑] 放鬆，沒那麼糟的。好的，我們開始吧。您現在在哪裡學習？
羅：我目前正在漢城國立大學學習，現在是大四。
Nakaw：您正在和張孝俊一起學習？[老師的名字在比賽手冊上]
羅：是的，完全正確。
Nakaw：您也在兼職鋼琴演奏家嗎？
羅：不，我只是一個謙虛的學生。 [笑]
Nakaw：[笑] 也是一位謙虛的鋼琴家。您為這場比賽準備了多長時間？
羅：嗯，事實上，這場比賽花了兩年時間舉辦。因此，我的準備時間可能是一年半。
Nakaw：您是如何決定參加這項比賽的？
羅：如您所知，在韓國，所有男性都應服兵役。國防部有一個特殊的比賽清單，如果您獲得比賽的前兩個獎項，則可以免服兵役。
Nakaw：那是唯一的原因嗎？
羅：那是最重要的原因。我也有一些 … 該怎麼說？我和我的朋友約定在這場比賽中取得好成績。關於這個故事，我現在將保留下來，以解決您稍後可能會問我的其他曲目問題。這兩個原因可能是 [他參加此比賽的原因]。
Nakaw：您是否參加過其他國際鋼琴比賽？
羅：是的，還有其他一些國際比賽。我可以列出來嗎？
Nakaw：當然可以。
羅：在喬治亞，靠近土耳其。2017年第比利斯鋼琴大賽。
Nakaw：哦！所以，您認識那位喬治亞鋼琴家嗎？ [某位也參加2019年布索尼大賽的喬治亞鋼琴家]
羅：是的，是的。我們早就已經是朋友了。 [笑]
Nakaw：您在第比利斯比賽中獲獎了嗎？
羅：我獲得了六等獎，不怎麼樣。 [笑]
Nakaw：不，那非常好。有許多人錄影都無法通過
羅：[笑] 實際上，錄影是最艱難的一輪。
Nakaw：您還參加了什麼比賽呢？
羅：同年[2017]，我參加了首爾國際音樂比賽。我在第一輪被淘汰。
Nakaw：還有什麼？
羅：都柏林國際鋼琴比賽。同樣也是第一輪被淘汰。 [笑]
Nakaw：這是哪一年？
羅：那是2018年。而我在都柏林的時候，我提交了這場比賽的錄影。
Nakaw：那麼，這是第四次 [參加國際鋼琴比賽]？
羅：是的，這是第四次了。蕭邦亞太國際鋼琴比賽怎麼樣？它算嗎？
Nakaw：是的。
羅：我在此比賽獲得了特別獎。很久以前，也許是2015年或16年？不好意思我忘了。
Nakaw：沒關係。您是如何決定本次比賽的曲目？
羅：我必須談論所有曲目嗎？
Nakaw：這樣吧。首先，您是否有專門為此比賽準備的新的曲目？
羅：這些布索尼的作品都是新練的[Busoni BV 259和Bach / Busoni BWV 639]，以及當代作品[Filidei Berceuse]，還有五重奏 [ Brahms鋼琴五重奏。]。
Nakaw：您學習這個五重奏花了多長時間？
羅：不到六個月，這很艱難。
Nakaw：柴可夫斯基協奏曲呢？
羅：這首我之前已經學過了。
Nakaw：您去年參加了預選賽嗎？可以給我您的曲目嗎？
羅：好的。 [寫下] 我演奏了蕭邦練習曲10/10。斯克里亞賓練習曲8/12，還有Bach / Busoni Chaconne。
Nakaw： Bach / Busoni Chaconne是新曲目嗎？
羅：不，這是老曲子。
Nakaw：您為什麼不 [在決賽階段] 在這裡演奏？
羅：我一開始想要將這首曲子放在決賽階段，但是我的教授說，您必須要先被選中，而不是考慮後面的決賽，得確保自己能夠通過預選階段。
Nakaw：這聽起來不錯。
羅：是的。
Nakaw：您是自己決定曲目還是由您的老師幫助您決定這些曲目？
羅：嗯，我們進行了很多討論，並且做了許多不同的曲目搭配。例如，如果我演奏I或VI [Rachmaninoff 6 Moments Musicauz Op.16]，整個氛圍就太黑暗了。類似這樣的討論不少。
Nakaw：所以，實際上您是和教授一起決定的。
羅：是的。但最終的決定取決於我。
Nakaw：但是他提出了很多建議。
羅：是的，他給了不少建議。
Nakaw：關於這些新曲目，您是如何選擇它們的？
羅：首先是Busoni創作的Sonatina [Sonatina Seconda BV 259]。坦白說，我不喜歡這首歌，因為它就像無調音樂。
Nakaw：所以您勇敢地選擇了自己不喜歡的作品？
羅：其實我真的很想彈…那叫什麼去了？就像合唱的樂曲 [演唱旋律] 一樣， Georgijs Ososkin [Busoni Competition的另一位競爭對手] 就是演奏了這首樂曲[BWV 253]。我真的很喜歡那首。但是，如果這首[BWV 253]和舒伯特 [四首即興曲] 一起演奏，也許整個節目就太嚴肅了。因此，我選擇了這首作品 [ Busoni BV 259]。
Nakaw：在半決賽中，大多數選手都演奏了三位作曲家的作品，而您只有演奏兩位作曲家的作品。您為什麼不彈更多的作品？您是否真的非常喜歡這組舒伯特？ [4 Impromptus Op. 90]
羅：我非常喜歡這組舒伯特的即興曲，也很喜歡我在半決賽中彈過的夏康。這是我的策略之一。在比賽中，很多競爭對手都應該展示自己的技術或力氣，但是我不喜歡那樣做。在半決賽時，主辦方規定演出時間四十分鐘，這個時間設定非常適合彈奏舒伯特[Schubert Impromptus Op. 90]。所以，當時我心想：哦！天哪！這真是命中註定要我彈這首曲子。 [笑]
Nakaw：所以您就賭下去了，對嗎？ [笑]
羅：是的，我想向評審團展示我的音樂性。
Nakaw：您成功了[羅在彈奏舒伯特即興曲後進入了下一輪]。您對此滿意嗎？
羅：是的。其實我真的很沮喪，因為我沒有再進入下一輪。但是我很高興我的舒伯特即興曲被評委選中。
Nakaw：我真的很喜歡那組舒伯特。特別是第四首。
羅：是的。實際上，第四首很難在舞台上演奏。
Nakaw：那麼，您能解釋一下第二輪的全部曲目嗎？
羅：現在，我們有一個關於這個的故事[貝多芬鋼琴奏鳴曲第32號]。
Nakaw：我非常的期待您的故事。
羅：別太期待，這是一個傷心的故事。好的，第二輪的第一首是Choralvorspiel [Bach / Busoni Choralvorspiel No.5“Ich ruf zu dir，Herr Jesus Christ” BWV 639]。我選擇它是因為我喜歡它。首先，我真的很喜歡管風琴的作品。這個Choralvorspiel最初是來自管風琴，所以，我真的想做出或傳達出管風琴可以發出的聲音。特別是我喜歡小調，並且這曲子的標題很棒。就像“我呼求你，耶穌基督。”儘管我不是基督徒，但它以某種方式觸動了我的心。就像在祈禱，乞求。這些是我選擇此作品的主要原因。
關於這首當代作品[Filidei Berceuse]，它很有趣，因為它的音符較少。我沒有練很多。我可以選擇背譜，但風險很大。所以，我選擇不背譜演出。這首曲子涵蓋了鋼琴的全部範圍以及所有88個琴鍵。這只是我的意見，這曲子聽起來可能像是宇宙，或是一個荒野。如果我在演奏廳裡彈初非常低的聲音和非常高的聲音，稍等一會兒，聲音就會開始綻放。有趣的是，聲音開始綻放時，同時也逐漸消失。我真的很想描繪或刻畫像宇宙這樣的意境。所以，我選擇了這首曲子。
拉赫瑪尼諾夫，[Six Moments Musicaux]，好吧，這是相當艱難的。去年我在漢城有自己的演奏會。我演奏了全部六首曲，並計劃在這場比賽也演出所有六首曲。但是，如果我放入5和6，時間就不夠了。所以，我只能彈一到四。想像一下，拉赫瑪尼諾夫，這位古老的俄羅斯人，那般蕭條，而他渴望在蕭條中尋找希望。我很想認真描述他的音樂。我的教授也說，這不僅是感性的旋律，還像是您可能會看到的每幅繪畫的聯繫。就像Mussorgsky。這就是為什麼我選擇這件作品。它可能像霧一樣，像幽靈一樣，只閃過一次就消失了。
好的，貝多芬[奏鳴曲第32號]。也許是世界上最偉大的作品之一。有人會對我說你怎麼有膽量選這首曲子。
Nakaw：是的。那麼，您怎麼敢彈這首？ [笑]
羅：[笑]。人們問，您怎麼敢在比賽中彈這種禁曲？但是有趣的是，我大概在六年前還是高中的時候就學習了這首奏鳴曲。當時應該是更有野心吧？好吧，其實那時我只是愛上了這件作品。你知道第二樂章嗎？ Arietta。
Nakaw：是的，那是我的曲目。
羅：貝多芬喜歡減七和弦。在熱情奏鳴曲的第三樂章，也有減七和弦的使用。他非常喜歡使用那些減七和弦，並且喜歡使用那些有節奏的和弦素材來表達自己的感受。他使用非常緊張的節奏。這樣的緊湊感在第一頁一直沒有停止過。一些評論者說，第一樂章是關於人生的悲劇，或者是因為他的耳聾而使他沮喪。第二樂章就像–好吧，人生，注定的世界已經過去。是時候去天堂了。我不知道天堂是否會那麼甜蜜，我不知道，但是我同意那個觀點，因為…這裡開始我的故事。
Nakaw：我在等待著。
羅：您在等我的故事嗎？ [笑]
Nakaw：是的。 [笑]
羅：好的。您知道尹成金嗎？上一屆他獲得了第四名。
Nakaw：我不清楚。
羅：他是我的朋友，也是我的同事。他已經是一位偉大的鋼琴演奏家了，他的技術很棒。您可以在YouTube上找到他的演出。他是一位非常出色的鋼琴家，上次比賽結束後我們聊了一下，他已經知道我今年會參加比賽，他對我說：“您應該在Busoni比賽中獲得一等獎。”我向他保證我會盡力而為。去年，他發生了一起悲慘的事故，他去世了。
Nakaw：哦，不！那太糟了。
羅：去年夏天他去世了。我剛剛告訴您這是一個悲傷的故事。
Nakaw：好的，請繼續。
羅：他在上次決賽也演出了貝多芬32號奏鳴曲。他過世後，我突然決定我真的需要在這個布索尼大賽中演出這首曲子。值得慶幸的是，評委們把我帶到了這個階段，他們給了我彈奏這首奏鳴曲的機會。我演奏該曲目的那天晚上，是一個很棒的時刻，一個令人愉悅的時刻，即使我沒有進入決賽，但我感到非常滿意和高興，一切都是為了他。當我在舞台上表演時，感覺離他好近。
Nakaw：他也和你在同一所學校讀書嗎？
羅：不，他在韓國國立藝術大學學習。是的，就是這個故事。因此，我決定在這場比賽中選擇這一戲劇性作品。即使我沒有通過，我仍然感到滿意。
Nakaw：非常感謝你的故事。那麼，您如何確定曲目演出的順序？
羅：我可以寫下正確的順序嗎？節目單上是錯誤的。
Nakaw：好的。
羅：[撰文：1.巴赫/布所尼Choralvorspiel No. 5, BWV 639； 2.拉赫瑪尼諾夫Musicaux Op. 16（I-II-III-IV）；3. Filidei Berceuse；4. C小調作品貝多芬鋼琴奏鳴曲32號，作品111]。
Choralvorspiel像前奏一樣具有間歇性，而且很短。就像告訴觀眾，我將在整個節目中播放與此音樂類似的內容。另外，如果您以這種舒適，輕鬆，短的片段開始，那麼在舞台上是一個適應鋼琴很好的機會。您無法將貝多芬Op. 111這樣的作品放在開頭，那是不可能的。因此，Choralvorspiel成為第一首。
我曾猶豫另外兩位作曲家的順序[拉赫瑪尼諾夫和菲利迪]，我早已經決定最後演奏貝多芬。而另一個選擇可能是-如果我先演奏這首Choralvorspiel，然後再演奏這首當代音樂，那麼拉赫瑪尼諾夫，你知道節奏[他唱節奏，聽起來像貝多芬作品的開始]，如果您演奏了此曲，將很難接續演奏貝多芬。所以我不能把它們放在一起。也許在這[Rachmaninoff]之後，我不得不休息五分鐘。 [笑]
Nakaw：但他們不允許您休息五分鐘。
羅：是的。因此，我從Choral開始，接著演奏Rachmaninoff。此後我可以休息一下，等著服務員幫我架上鋼琴譜架。
Nakaw：太聰明了。許多參賽者在舞台上坐了整整一個小時。
羅：那很艱難。好吧，演出期間離開舞台有點尷尬。沒有掌聲，只有腳步聲[笑]。但是我下了台可以喝水。是的，這就是我如此安排順序的理由。
Nakaw：好的。您為什麼選擇這首布拉姆斯鋼琴五重奏？[這裡討論室內樂輪]
羅：布拉姆斯五重奏。好的，比賽單位給了五個選擇。舒曼，布拉姆斯，德佛札克，弗蘭克和蕭斯塔科維奇。如前所述，我真的很喜歡小調。可笑吧？好吧，和這次主題沒有關係，但是我真的很喜歡這個小調，不僅僅是“哦！好傷心哦！”的感覺，但是就像在表演中找到希望一樣。我真的很喜歡那種感覺。
這些選項中，舒曼五重奏不適合我。聽起來太快樂了！ [他開始唱舒曼五重奏的旋律] 好吧，我知道這是一部傑作，但這不是我的品味。還有德弗札克，如果我選這首的話，弦樂應該會拉到死吧？這太難了。[笑]
Nakaw：死在舞台上也是他們的責任呀。[笑]
羅：關於Frank和Shostakovich。好的，Shostakovich很難理解。弗蘭克，也許就像浪漫主義中的浪漫主義者，擁有濃烈的浪漫素質。我的確掙扎了一下該選布拉姆斯還是弗蘭克。但是對於我的職業生涯和其他表演階段來說，布拉姆斯可能是最佳選擇。您可以在任何地方演奏布拉姆斯五重奏，但是弗蘭克，蕭斯塔科維奇，我們需要某種類型的舞台。所以，我選擇了布拉姆斯。
Nakaw：您是如何練習五重奏的？你有團可以練習嗎？
羅：是的，在我學校裡有一群朋友。我請他們幫助我，排練時真的很棒。如果您練習室內音樂或協奏曲卻只能自己練習的話，那非常的困難。因此，我決定打電話給一些朋友。即使我沒有進入室內樂輪，這也是一次很棒的經歷。
Nakaw：柴可夫斯基協奏曲呢？為什麼選這首？
羅：好的，柴可夫斯基。我超討厭這首協奏曲。 [笑]
Nakaw：你選擇了超討厭的曲子嗎？ [笑]
羅：嗯，那是很有名的曲子。將來，我真的很想參加莫斯科的柴可夫斯基比賽。在那裡必須演奏兩首協奏曲，當然柴可夫斯基第一號協奏曲是必須要選的。所以，我決定學這首曲子。
Nakaw：你學了多久了？
羅：也許四年。
Nakaw：但是你討厭它。
羅：我討厭這個的原因是…嗯，音樂很棒。所有這些技術和出色的主題都很讚。但坦率地說，我的手不適合這曲子。例如，第二個主題，那一些16分音符，儘管我拼命練習那些段落，但我仍然無法每個音都正確彈出來。我也不知道為什麼。
Nakaw：您的教授有沒有說過什麼？
羅：他說我不能像練習貝多芬或巴赫一樣去練柴可夫斯基。他告訴我不要那樣做，只要順其自然即可。他還說：“演奏俄國曲目時，您應該演奏錯誤的音符。” [笑]這有點好笑。
Nakaw：聽起來真可悲，您應該演奏錯誤的音符。
羅：恩，這可能可以令人信服，因為您無法像演奏貝多芬一樣演奏拉赫瑪尼諾夫。教授說：“您必須只在意大樂句，不要在意遺漏的音符。”即使他這麼說，我還是一樣。 [笑]我真的很討厭這首協奏曲。
Nakaw：嗯，柴可夫斯基比賽在四年後，您現在不必擔心。[笑]那麼，您認為您在半決賽和獨奏輪中哪時候發揮的最好？
羅：哦，這很難。我無法判斷自己。你呢？
Nakaw：對我來說，我認為是半決賽中的舒伯特。
羅：[笑]我非常感激。
Nakaw：在獨奏輪中，我喜歡您所演奏的布索尼和貝多芬。對我來說，我無法判斷這是好是壞，我只是選擇一個觸動我內心的東西。
羅：好的。好吧，我和你很相似。我的舒伯特，第三首，那可能是我演奏最好的。或許Chovorspiel也不錯吧。我真的很喜歡專注於貝多芬第二樂章的後半段。我真的很專心，完全沒有緊張。
Nakaw：那麼，練習全部曲目有什麼挑戰？您演奏過特別有挑戰性的作品嗎？
羅：我認為，故事的講述很重要。不僅每個片段，而且您還必須使其某種故事性。這可能很嚴肅，也可能很有趣。因此，對我來說是最具挑戰性的事情是整體演奏的故事講述。
Nakaw：對您來說，獨奏輪可能是最大的挑戰？
羅：是的，曲目的長度和難度都是極大的挑戰。
Nakaw：那麼，哪一首曲子對您來說最困難？
羅：貝多芬[Op. 111]。拉赫瑪尼諾夫和貝多芬。好吧，這些作品對我來說太難了。您必須對所有這些音符保持冷靜，而不能倉促行事，但是如果您有點緊張，就會變得倉促，並且會忽略一些細節。
對於貝多芬來說，很難表現。就像是雕刻一件作品，演奏者必須雕刻貝多芬，並且運用優秀的技巧來塑造完美的形狀，但有時演奏者的雙手害怕接觸這種珍貴的材料而不敢放手一搏。這是我對於演出貝多芬的感覺。
Nakaw：那麼，您是否認為自己克服了剛才所說的那些困難？
羅：一點點。我確實學到了很多東西。在此過程中，對於那些偉大的鋼琴家來說，這可能只是很小的一步，但對我而言，這是一次巨大的跨躍。
Nakaw：那麼，您認為這次比賽應該改變曲目的要求嗎？
羅：刪除當代作品。為什麼？為什麼？為什麼？為什麼？為什麼？[重複了很多次為什麼] 好的，您知道芬蘭的Maj Lind鋼琴大賽嗎？
Nakaw：不知道。
羅：在那個比賽中，您可以演奏比賽給您的那些當代作品，也可以寫一些音樂並在比賽中演奏。我真的很心動。我真的很想寫一些東西，可惜我不是一個好的作曲家。我認為最吸引人的是，您可以在比賽中表達自己的想法或表達自己的音樂話語。因此，在Busoni比賽中，他們應該刪除這一內容並做一些有趣的事情。
關於不同比賽輪的安排，我認為最好將獨奏輪和室內樂放在一起，而不是將它們分成兩個不同的回合。在本次比賽中，有第一輪DVD比賽，以及去年的預選賽，有這個[半決賽]，這個[獨奏輪]，然後是這個[室內樂輪]。總共六輪。 布索尼鋼琴大賽讓人花費了兩年時間，並且完成了六輪比賽。我覺得太多了。
Nakaw：很好的切入點。那麼關於這比賽您還有什麼要說的嗎？
羅：關於這個比賽？ [他保持低沉的聲音，環顧四周，看看是否有人在走來走去。]鋼琴很爛。好吧，這是最困難的問題。對我來說，兩架鋼琴都不錯，但它們仍然有些…我怎麼說…也許太相像了？如果鋼琴是如此相似，基本上沒有什麼可以變化。就像其它一些比賽一樣，他們提供不同品牌的鋼琴供參賽者選擇。
Nakaw：好的。還有嗎？
羅：好的，這很重要。評審委員會給評語的時間。
Nakaw：我知道沒有評語的時間，參賽者必須自己攔截評審。
羅：是的，這太荒謬了。得自己追著評審說“告訴我我彈得怎麼樣”是如此困難。他們應該提供評論時間。好吧，首爾國際鋼琴比賽和都柏林國際鋼琴比賽都有被淘汰參賽者的評論時間。
Nakaw：好的，還有嗎？
羅：沒了。
Nakaw：好的，採訪到此結束，非常感謝。
以下為原汁原味的英文版本採訪內容，
覺得我翻譯太差的可以直接看原稿。
Nakaw: Thank you for doing the interview with me.
Na: Oh! I’m so nervous. It is more difficult than playing the piano.
Nakaw: No, you don’t need to be nervous!
Na: Piano has a more beautiful voice than me, that’s why I’m nervous. [Laughter]
Nakaw: [Laughter] Relax, it’s not that bad. Okay, here we are. Where do you study now?
Na: I’m currently studying in Seoul National University, and now I am a senior.
Nakaw: And you are studying with Hyoung-Joon Chang [The teacher’s name shows on the competition program]?
Na: Yes, exactly.
Nakaw: Are you also working as a concert pianist?
Na: No, I’m just a humble student. [Laughter]
Nakaw: [Laughter] And a humble pianist. How long have you prepared for this competition?
Na: Well, in fact, this competition took two years. So, maybe one and half years.
Nakaw: How did you decide to enter this particular competition?
Na: As you already know, in Korea, we have the military problem that all the males should participate in the military. And the department of the National Defense has a special competition list, which if you get the first two prizes of a competition, you could be exempt from military service.
Nakaw: Is that the only reason?
Na: That’s the most important reason. Also I had some…how can I say… I had a promise with my friend to have a good grade in this competition. And about this story, I will keep it now for the other repertoire questions that you might ask me later. Those two might be the reasons [the reason of why he participated in this competition]
Nakaw: Have you ever participated in any other international piano competitions?
Na: Yes, some other international competitions. Can I name them?
Nakaw: Of course.
Na: Georgia, which is near Turkey. Tbilisi Competition. [2017]
Nakaw: Oh! So, did you know the Georgian guy [The one who also participated in this year’s Busoni]?
Na: Yeah, yeah. We were already friends. [Laughter]
Nakaw: Did you win any prize at Tbilisi Competition?
Na: I got a sixth prize. Bad. [Laughter]
Nakaw: No, that was good. Some people do not get passed from video round [point to myself]
Na: [Laughter.] Actually, the video round is the hardest one.
Nakaw: So, what else?
Na: And in the same year I had Seoul International Music Competition. I was eliminated at the first round.
Nakaw: What else?
Na: Dublin International Piano Competition. Also first round eliminattion. [Laughter]
Nakaw: What year was this?
Na: It was 2018. And while I was at Dublin, I submitted the video for this competition.
Nakaw: So, this is the fourth time [participated in international piano competition]?
Na: Yeah, this is the fourth time. How about the Chopin Asia-Pacific International Piano Competition? Does it count?
Nakaw: Yes.
Na: I got a special prize for that. It was quite long ago, maybe 2015 or 16? Sorry about this.
Nakaw: That’s okay. How did you decide the repertoire for this competition?
Na: The repertoire, okay. Do I have to talk about all repertoire?
Nakaw: Let’s do this. First of all, do you have any new repertoire specifically prepared for this competition?
Na: These Busoni are new [Busoni BV 259 and Bach/Busoni BWV 639], and this contemporary piece [Filidei Berceuse], and maybe the quintet [Brahms Piano Quintet in F Minor, Op. 34].
Nakaw: How long did it take you to learn this quintet?
Na: Less than six months, it was tough.
Nakaw: How about Tchaikovsky [Concerto No. 1]?
Na: I’ve already studied this before.
Nakaw: Did you go to the pre-selected round last year? Can I have your repertoire please?
Na: Sure. [writing down] I played the Chopin Etude Op. 10/10. The Scriabin Etude Op. 8/12, the D-sharp minor. And Bach/Busoni Chaconne.
Nakaw: Is this Bach/Busoni Chaconne a new piece for you?
Na: No, it is old repertoire for me.
Nakaw: Why didn’t you play it here [in solo-final round]?
Na: I was concerned about that: OK, let’s play the old one at the main stage, and have some new one at the pre-stage. But my professor said you have to be selected first, instead of thinking about the main stage, try to secure yourself in the pre-selection round. Don’t think about the latest, focus here.
Nakaw: And it works.
Na: Yeah.
Nakaw: Did you decide by yourself or did your teacher help you decide these repertoire?
Na: Well, I think it cannot be like black and white that he chose for me or I chose. We had lots of conversations, and we also matched each piece like … For example, if you play I or VI [Rachmaninoff six Moments Musicauz Op.16], it would be too dark. We had those kind of conversations.
Nakaw: So, actually you decided together.
Na: Yeah. Maybe the final decision depended on me.
Nakaw: But he gave a lot of suggestions.
Na: Yes, Suggestions.
Nakaw: About these new pieces, how did you select them?
Na: Firstly, the Sonatina by Busoni [Sonatina Seconda BV 259]. Frankly, I didn’t like this piece because it was like atonal music.
Nakaw: It was brave that you chose a piece you don’t like.
Na: Actually I really want to play… what was it? It’s like the Chorale piece [sing the melody], maybe Georgijs Ososkin[other competitor of Busoni Competition] played this piece [BWV 253]. I really love that one. But if I played that piece with Schubert [Four Impromptus], those programs were going to be like too serious, maybe. Maybe too tonality. I selected these pieces because of the dynamic ranges.
Nakaw: Most of the contestants had three composers in the semi-final round, and you only had two. Why didn’t you play more variety pieces? Do you really love this Schubert and wanted to play it at the semi-final round [Four Impromptus Op. 90]?
Na: Maybe the later would be suitable for me. I really like these Impromptus, and also I like the Chaconne I played in the pre-selection round, it’s one of my strategies, too. In competition, particularly lots of competitors are supposed to show their techniques or maybe their powers. But I didn’t like to do that. So, they have like a forty minutes program, it fit perfectly [the Schubert Impromptus Op. 90]. So, I thought that: Oh! My God! It’s destiny to play this one. [Laughter]
Nakaw: Just like gambling, right? [Laughter]
Na: Yeah, I want to show my musicality to the juries.
Nakaw: And you succeed [Na went through to the solo-final after played the Schubert Impromptus]. Are you happy with this?
Na: Yes. I was really depressed that I didn’t get into the chamber-final. But I was really happy that I got chosen by Juries by this Schubert Impromptus.
Nakaw: I really like the Impromptus. Especially the fourth one.
Na: Yes. Actually the fourth is very difficult to play on stage.
Nakaw: So, can you explain the combination of the repertoire of the solo-final round?
Na: The solo-final. Now, we have a story for this one [Beethoven Piano Sonata No. 32 in C Minor, Op. 111].
Nakaw: I’m excited for the story.
Na: Don’t be excited, it’s a sad story. Okay, the first one, the Choralvorspiel [Bach/Busoni Choralvorspiel No. 5 “Ich ruf zu dir, Herr Jesu Christ” BWV 639]. I chose it because I just like it. The transcription of Busoni which the pieces originated by Bach as you know, they have like toccata, or maybe like … there are so many of them. Firstly, I really love the song of the organ. And this Choralvorspiel is originally from the organ piece, so, I really want to pronounce, or project the sound that the pianoforte could make, a sound of overlapping, wind sound maybe. Especially I love minor keys, and the title is great. It’s like “I’m calling you, Jesus Christ.” Although I’m not a Christian, somehow it touches my heart. It’s like praying, begging. Those were my major reason of choosing this piece.
And about this contemporary piece [Filidei Berceuse], it’s quite funny because it has less notes. I didn’t practice it very much. I was able to memorize this piece, but it was so risky. So, I just requested a page turner. This piece covers the whole range of piano, all eighty-eight keys. And it is just my opinion, it might sound like the universe, a wild space. If I pronounce the very low voice and the very high voice in the hall, and if you stayed for a moment, the sound is blooming. It’s quite funny that if you made a sound, it starts to bloom and in the same time it starts to fade. I really want to manage, or to portray something like the universe. So, I chose this one.
The Rachmaninoff, Six Moments Musicaux, okay, this is quite a tough one. Last year I had my own recital in Seoul. I performed the whole six pieces, and I planned to play all the six in this competition. But if I put down five and six, I would be out of time. So, I put down one to four. To maybe show like some techniques, or like powers. Because all of my pieces were like a bit serious, and a bit deep. So, I want to show something like that. Imagine the Rachmaninoff, the old Russian, that depression, and you’re eager to find hope during the depression. I was eager to draw some pictures of his music. And it also says it’s like musical moments, my professor also said that it’s not just a sentimental melody, it’s like a connection of each drawing you might see. It’s like Mussorgsky. That’s why I chose this piece, those others are so serious. It might be like a mist, like a ghost, it just sparkled one time and vanished right away.
Okay, Beethoven [Sonata No. 32]. One of the most biggest pieces of the world, maybe. Some can say how dare you play this last sonata.
Nakaw: Yes. So, how dare you play this one? [Laughter]
Na: [Laughter]. People asked, how did you dare play this kind of forbidden piece in the competition? But what’s funny is that I studied this piece like maybe six years ago when I was in high school. That might be more “how dare you.” Well, at that time I was just in love with this piece. You know the second movement right? The arietta.
Nakaw: Yes, that was my repertoire.
Na: Maybe the first movement is like those diminished seventh chords [he sings the melody of the beginning of Beethoven Op. 111], Beethoven loved the diminished chord. In Op. 57 Appasionata Sonata third movement, there is also a diminished seventh [he sings the beginning of third movement]. He really enjoyed using those diminished chords and like using those rhythmic chord ingredients to show his feelings. He used very tense rhythm [sing first movement of Op. 111]. It never stop in the first page. And then suddenly the left hand trio and the theme go on. Some public said that the first movement is about the tragedy of life, or like his depression, because of his deafness. And the second movement is like – okay, the life, the doomed world is over. It’s time to go to the heaven. I don’t know if heaven would be that sweet, I have no idea, but I agree with that opinion because… here starts my story.
Nakaw: I’m waiting.
Na: You are waiting for my story? [Laughter]
Nakaw: Yes. [Laughter]
Na: Okay. Do you know Eun Seong Kim? He won the fourth prize last time [last edition 2016/17].
Nakaw: No.
Na: He is a friend of mine, and also colleague of mine. He was a great pianistic already, and his technique was amazing. You could find out his detail on YouTube. He was a really good pianist, after his competition here we had a chat. He was also aiming for exempt status from military service. He already knew that I would participate this year, and he said to me “You should get a first prize in the Busoni Competition.” And I promised him I’d do my best. Last year, some tragic accident happened to him, and he passed away.
Nakaw: Oh no! That’s so sad.
Na: He passed away last summer. I told you it is a sad story.
Nakaw: Okay, keep going.
Na: He also played this Op. 111 sonata in solo-final of last edition, and at that time I suddenly decided that I really needed to play this at the solo-final. And thankfully, the judges passed me to the solo-final stage, they gave me the chance to play this one. The night when I played this repertoire, it was like such a great moment, such a pleasure moment that—even I didn’t make it to the final stage, but I was so satisfied and I was so happy that I played this sonata for him. It was like being so close to him when I performed on the stage.
Nakaw: Did he also study in the same school as you?
Na: No, he was studying at Korean National University of Arts. Yeah, that’s the story. So, I decided to choose this dramatic piece in this competition. Even though I did not pass, I’m still satisfied.
Nakaw: Thank you so much for the story. So, how did you decide the order of this program?
Na: The order. Can I write down the correct order? This program is wrong.
Nakaw: Sure.
Na: [Writing: 1. Bach/Busoni Choralvorspiel No. 5 “Ich ruf zu dir, Herr Jesu Christ” BWV 639; 2. Rachmaninoff Six Moments Musicaux Op. 16 (I-II-III-IV); 3. Filidei Berceuse; 4. Beethoven Piano Sonata No. 32 in C Minor, Op. 111].
The Choral has the intermissive like a prelude, and it is short. It is like telling the audience that I’m going to play something similar as this music the whole program. Also, if you start with this kind of comfortable, easy, short piece, it is a great oppurtunity to rehearse the piano right on stage. You can’t start those pieces like Beethoven Op.111, that’s no way. So, it became the first piece.
I was concerned about those two [Rachmaninoff and Filidei], I already decided to play the Beethoven at the very last. And the other option may be—if I played this choral followed by this contemporary piece, then Rachmaninoff. This Rachmaninoff No. 4, you know the rhythm [he sings the rhythm, it sounds similar to the beginning of Beethoven Op. 111], if you played this the third of the order, it would be difficult to play Beethoven. It’s like the same rhythm. I could not put them together. Maybe after this one [Rachmaninoff], I have to rest for five minutes. [Laughter]
Nakaw: They won’t allow you to take a five minute break.
Na: Yeah. So, I started with Choral, and played the Rachmaninoff as second order. Rachmaninoff No.4 is a tough one, I could take a rest after this when waiting for the usher to set up the piano stand.
Nakaw: That’s smart. Many contestants just sit on the stage for the entire one hour.
Na: That’s quite tough. Well, going off the stage during the performance is a bit awkward. There was no applause, there was only the footstep sound [laughter]. But I just went off and drank the water. Yeah, that’s the reason of my program order.
Nakaw: Okay. And why did you choose this quintet [for chamber round]?
Na: Brahms Quintet. Okay, they had like five choices. Schumann, Brahms, Dvorak, Frank and Shostakovich. As I said earlier, I really love minor key. Ridiculous right? Well, it is off topic, but I really love the minor key which not just “Oh! So sad!” But like finding hope during the performance. I really love those kinds of feelings. And the Choral was like exactly what I just said.
Okay, for Schumann, Schumann is not suitable for me. That’s like happy, happy! [He starts to sing the melody of Schumann Quintet] Well, I already know the master piece, but it was not my taste. And Dvorak, if I played that, the strings were going to die. It is so hard.[Laughter]
Nakaw: Just let them die, that’s their duty.
Na: About the Frank and Shostakovich. Okay, Shostakovich is too hard to understand. The Frank, it would be like the romantic of romantics maybe, like the thick texture of romantic. I was really concerned about the choice between Brahms and Frank. But for my longer career, and other performance stages, Brahms might be the best piece to be able to have a long run program. You could play Brahms quintet everywhere, but Frank, Shostakovich, we need some kind of those types of stages. But Brahms is always, all the time the best. So, I chose this one. And it’s also minor key.
Nakaw: How did you practice this quintet? Did you have a group practice for you?
Na: Yes, I had a group of my friends in the same school. I asked them to help me, it was really great to have rehearsal. If you practiced chamber music or concerto, you play on your own, and you just like imaging the other parts, it’s quite challenging. So, I decided to call some friends. It was a great experience, even though I did not make it to the chamber round.
Nakaw: What about Tchaikovsky [Concerto No. 1]?
Na: Okay, Tchaikovsky. I hate this piece. [Laughter]
Nakaw: And you chose it? [Laughter]
Na: Well, it was so famous. The opening might be the all time best. Here comes my goals—in the future, I really want to participate in the Tchaikovsky Competition in Moscow. You should play two concertos there, and of course Tchaikovsky. So, I studied this one.
Nakaw: How long have you studied this one?
Na: Maybe four years.
Nakaw: And you hate it.
Na: The reason why I hate this is because… Well, the music is great. All those techniques, and the brilliant themes. To be frank, my hands are not suitable for this one. For example, the second theme [singing], those sixteenth notes, even though I practiced like six hours of those passages, I always have mistakes all the time. I don’t know, I have no idea.
Nakaw: Did your teacher say anything about that?
Na: He said that I approached Tchaikovsky like Beethoven or like Bach. He said I was doing like [he sings how he did the music], and he told me not to do that, just do kind of one flow. He also said that “you should play wrong notes while playing Russian [pieces].” [Laughter] That was a bit funny.
Nakaw: That sounds so sad that you should play the wrong notes.
Na: Well, that might be convincing because you can’t play Rachmaninoff like Beethoven. All those whole bunch of notes, scales. But he said “you have to make a big phrase line, don’t care about missed notes and mistakes.” Even though he said so, I’m still the same. [Laughter] I really hate this one.
To say about this concerto, I was planning to finish this one. After this competition, I was thinking about dropping it and starting something like Mozart K 466, the D Minor one. Or maybe Brahms No 1 [Concerto]. I think I should approach like that kind of stuff instead of Tchaikovsky.
Nakaw: Well, Tchaikovsky Competition is four years later, you don’t need to worry about it now. [Laughter] So, what piece do you think you play the best in semi and solo-final?
Na: Oh, it’s hard. I can’t judge myself. How about you?
Nakaw: Well, for me I think it is the Schubert in semi-final.
Na: I’m so grateful to hear that [Laughter].
Nakaw: In solo-final I love Busoni, and Beethoven. For me, I’m not judging if this is good or bad, I’m just choosing the one that touches my heart.
Na: Okay. Well, I’m similar to you. My Schubert, the third one, that might be my best. And the Choral, maybe. And I really like my concentration on the second half of the Beethoven second movement. I was really concentrated without being nervous.
Nakaw: So, what were the challenges of practicing the entire repertoire? Was there any piece you played that was especially challenge?
Na: Well, it was most difficult to arrange my overall topic. I think that it is also important to have a story telling of all the program of what you’re playing. Not just each piece, but you have to make it some kind of story. And it could be serious, it could also be funny. But regarding interest, we should make some kind of chronology. Maybe some short chronology like one hour chronology, or like history. I was really eager to show those kinds of history of mine by those programs. And it is challenging because if you were supposed to practice those kinds of story telling issues, play all these programs in a row without rest. Like the same on the stage. And if you played one hour program straight, you will just knock out. And if you did not satisfied your program (one of the practicing program), you have to do again. But it is mentally and physically so hard. So, that was the most challenging thing for me—run through the whole program.
Nakaw: Probably Solo-final was the most challenge for you.
Na: Yes, the length and the difficulty of the pieces.
Nakaw: So, which piece is the most difficult for you?
Na: Beethoven [Op. 111]. Rachmaninoff No. 4 and Beethoven. Well, these kinds of pieces are so hard for me. You have to stay cool to all those notes without being rushed, but if you’re slightly nervous, you’ll became rushed, and you’ll forgot some notes. All those small things are gathering, at the end it’s like some kind of …knock out. So, this was the most challenging one [He is talking about Rachmaninoff].
And for Beethoven, it is so hard to touch. You have to carve something, you are like a sculpture, you have to sculpt Beethoven, and you have the ability and skills to make the outlook of the shape, but you’re so scared to touch that precious material. It was my feeling.
Nakaw: So, do you think you encounter those difficulties that you just said?
Na: Somewhat. I have learned a lot, really. During the process, it might be just a tiny step for those great pianists, but for me, it was a great leap.
Nakaw: So, do you think this competition should make any changes to the repertoire requirements?
Na: Erase the contemporary piece. Why? Why? Why? Why? Why? Okay, do you know the Maj Lind Competition in Finland?
Nakaw: Not really.
Na: That competition has a requirement, you could play those contemporary pieces that the competition gave you, but also you could write some music and play it in the competition. I was really attracted to that. I really want to compose something, I’m not a good composer, I composed like two bars and dropped it, and another two bars then dropped again. I think the most attractive thing is that you can play your own ideas or own musical words in the competition. So, Busoni Competition, they should erase this one and make some funny things.
And about the arrangement of different rounds, I think it would be better to have solo-final and chamber-final together, not split them into two different rounds. In this competition, you have first DVD round, and the pre-selection round last year, and you have this one [semi-final], this one [solo-final], then this one [chamber-final]. Total six rounds. Busoni Competition made you spend two years, and they made six rounds. I think it is too many. So, it would be great that …Well, I really like the two year project, if you divided the competition in this way, it would be better to make chamber and solo-final together. And you choose three to the final right away, not six to hear.
Nakaw: Good point.
Na: I think they didn’t want to listen to all these twelve in chamber round.
Nakaw: Is there anything else you want to say about the competition?
Na: About competition? [He keeps his voice lower and looks around see if someone is walking around] The piano sucks. Well, this is the hardest question. Okay, please bring me one more piano. Like three pianos, not just two. For me, both piano were not bad, but somewhat they still have…how can I say… same personality maybe? If the piano number one has a bright sound, piano number two has a darker sound. But the pianos are so similar, that I think you don’t have any variety. Or it might be better, like some other competitions, they offer different brands of pianos for contestants’ choice.
Nakaw: Anything else?
Na: Okay, this is important. The comment times of the jury members.
Nakaw: I know there was no comment time, you have to stop the jury by yourself.
Na: Yes, it is so ridiculous. It is so hard to stop the jury and say “tell me how I was.” They should offer the comment time. Well, the Seoul International Piano Competition and the Dublin International Piano Competition all had the comment time for eliminated candidates. Okay, I had one more competition that I forgot to say.
Nakaw: Sure, tell me please.
Na: It’s in China, Suzhou International Piano Competition [2017]. I went to the second round. They also had comment time.
Nakaw: Okay, anything else?
Na: Nothing.
Nakaw: Okay, that’s the end of the interview, thank you so much.
