Dong Hyek Lim, at the sixth concert of the Argerich Festival. Photo: Arnaldo Colombaroli / Teatro Colón
Franz Liszt said that Franz Schubert was the “most poetic musician who ever lived”. This characterization can be perfectly justified with the latest piano sonatas he wrote, of which Dong Hyek Lim executed n. 20 and n. 21 of flawlessly in turn as a soloist in the Algerian Festival.
On the stage of the Teatro Colón, the measure and frank understanding of musical discourse of these works were the leitmotif of the night lived.
Contrast of (good) intentions
Dong Hyek Lim and his romantic sensibility, at the Argerich Festival. Photo: Arnaldo Colomaroli / Teatro Colón
Between the interpretation of both sonatas a contrast could be perceived in the expressive intentions: if n. 20 was, in a formal sense, clearer and more classical; n. 21 it conveyed an intense romantic sensibility.
In this sense, the South Korean artist’s understanding of the place that Franz Schubert occupies in the future of music is remarkable, between what we can call “late Beethoven” and the consolidation of romanticism.
The evening began with the Sonata n. 20, Schubert’s penultimate, in which the second and last movements were propitious to the pianist for test both your technique and your sensitivity.
In case of AndantinoDong Hyek Lim managed to delineate the melodies – so characteristic of Schubert’s vocal speech – with clarity and delicacy, while at the same time it evoked a sincere melancholy. In the final Rondó, the pianist clearly projected the form, giving a unique discursive meaning to each reappearance of the initial theme.
Concentrated. Dong Hyek Lim, at the Teatro Colón, Some applause took him out of time. Photo Arnaldo Colombaroli / Teatro Colón
Air, expressiveness and some discomfort
The second part of the evening was dedicated to the Sonata n. 21, the last of Schubert’s repertoire. The second movement was particularly exquisite. (walking support), which the pianist interpreted as a profound meditation. The Joke what followed is noteworthy also for the air and expressiveness that he imprinted in his songs.
To complete the evening, the interpreter offered himself how BIS the improvised in E flat major, Op. 20, n. 2, which completed the idea of how the musical gatherings organized by Schubert (called schubertiadas) were, mainly dedicated to his music.
There was a certain unease of the pianist overnight. It is that, between movement and movement, battles of applause and jokes were fought, that the interpreter had to wait with courteous impatience for them to stop doing her work.
From above. Dong Hyek Lim at the Argerich Festival. Photo: Press Teatro Colón / Arnaldo Colombaroli.
In light of this experience, the importance of -in the future- accompany the necessary welcome to the new public with information on behavioral modelsso that the expressive arc of the works is not truncated and both the habitual public and the novice can enjoy it.
Despite every interruption, and in front of a room full of young people, Schubert’s poetic essence was present in the hands of Dong Hyek Lim.
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Recital by Dong Hyek Lim
Qualification: Very good
Interpreter: Dong Hyek Lim (piano) Program: Piano Sonata No. 20 in A major, D. 959; Piano Sonata No. 21 in B flat major, D. 960, by Franz Schubert Theater: Columbus, Argerich Festival Function: Wednesday 27 August, at 8pm
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Virginia Chacon Dorr
Source: Clarin
