Ravinia 2023 Issue 4

RICHARD RODRIGUEZ (LIM) comes to mind. More recently, mastering the Concerto No. 3 became the maddening pursuit of Australian pianist David Helfgott, whose musical and emotional struggles were featured in the film Shine . Rachmaninoff ap- peared as soloist with the New York Sympho- ny Orchestra and conductorWalter Damrosch in the world premiere on November 28, 1909. Less conspicuous but equally impressive are the structural novelties of the three move- ments. The Concerto No. 3 was the consum- mate realization of Rachmaninoff ’s artistry. Covering the Russian premiere, Grigory Prokofiev wrote a most direct and accurate valuation of the Concerto No. 3: “The new concerto mirrored the best sides of [Rach- maninoff ’s] creative power—sincerity, sim- plicity, and clarity of musical thought. … It has a freshness and inspiration that does not aspire to the discovery of new musical paths; it has a sharp and concise form as well as sim- ple and brilliant orchestration, qualities that will secure both outer success and enduring love by musicians and public alike.” Rachmaninoff dedicated the Concerto No. 3 to pianist Josef Hofmann, who, ironically, never played a single performance of the work. The Allegro ma non tanto begins in- auspiciously with a simple accompanimental pattern. After a two-measure delay, the pia- no intones its chant-like melody in octaves. Rachmaninoff denied any conscious imi- tation of Orthodox chant, but scholar Josef Yasser noticed strong similarities to the sa- cred melody “Thy Tomb, Oh Savior, Soldiers Guarding.”The unaccompanied piano offers a further theme. Development is not extensive, and the recapitulation begins surprisingly early in this grand scheme. The composer left two cadenzas, the latter being considerably shorter than his original conception. There is a final airing of the chant theme in the coda before the movement dies away. The Intermezzo is a deeply emotive piece, at once melancholy, introspective, and turbu- lent. A passionate orchestral segment exudes Russian Romanticism. The piano seizes the spotlight with a new virtuosic theme. As a waltz rhythm takes over, the piano assumes the role of accompanist. Another rich sym- phonic statement and brilliant solo passage- work lead directly into the final movement. In the Finale , the piano bursts forth with a jaunty theme whose rhythm (even in the fast- er tempo) harks back to the opening of the first movement. A more lyrical theme blos- soms into a series of variations. Steadily rising violins, doubled by thick piano chords, build excitement that finds release in a cascading romp to the end. –Program notes © 2023 Todd E. Sullivan MARIN ALSOP, conductor For Marin Alsop’s biography, see page 43. YUNCHAN LIM In June 2022, Yunchan Lim became the youngest person ever to win gold at the Van Cliburn International Piano Competition, where his performances also secured him the Audience Award and recognition for Best Performance of a NewWork. Just 18 years old, Lim quickly ascended to international star- dom with his Cliburn performances of Liszt’s Transcendental Etudes and Rachmaninoff ’s Piano Concerto No. 3. The video of the latter performance trended globally on YouTube in the days after and is now the most-watched version of that piece on the platform, amass- ing more than 5.5 million views in just one month and almost 9 million views in three months. Born in Siheung, Korea, Lim began piano lessons at age 7 and entered the Music Academy of the Seoul Arts Center the next year. At age 13 he auditioned for and was ac- cepted into the Korea National Institute for the Gifted in Arts, where he met his teacher and mentor Minsoo Sohn. Lim entered the international music stage a year later, in 2018, winning second prize and the Chopin Spe- cial Award in his first-ever competition, the Cleveland International Piano Competition. That same year, he stood out as the youngest participant in the Cooper International Com- petition, where he won third prize, the audi- ence prize, and the opportunity to perform with the Cleveland Orchestra. His added to his honors in 2019 as the youngest to win Korea’s IsangYun International Competition, also taking home two special prizes. Lim has since performed across South Korea—in- cluding with the Korean Orchestra Festival, Korea Symphony, Suwon Philharmonic, and Busan Philharmonic Orchestras, among oth- ers—as well as in Madrid, at the invitation of the Korea Cultural Center in Spain. His 2022/23 tour as Cliburn winner is taking him across four continents, with highlights in- cluding the Aspen Music Festival and La Jolla Music Society in the United States, Seoul Arts Center and Taipei National Concert Hall in Asia, and Wigmore Hall and Fondation Louis Vuitton in Europe. Lim is currently in his sec- ond year at the Korea National University of Arts, where he continues to study with Sohn. Yunchan Lim is making his Ravinia and Chi- cago Symphony Orchestra debuts. PAVILION 7:00 PM SUNDAY, AUGUST 6, 2023 KEB’ MO’ –Intermission– BOZ SCAGGS HEAVY lifting to us. Leave the Wintrust chair & table RENTAL RESERVE LAWN chairs and tables when you order tickets by clicking “ADD-ON.” Wintrust Chair & Table Rental, managed by the Ravinia Women’s Board, supports Ravinia and its Reach Teach Play music education and engagement programs. For more information, visit Ravinia.org /ChairRental RAVINIA MAGAZINE • JULY 31 – AUGUST 14, 2023 34 I I I