Internationally acclaimed pianist Yefim Bronfman is returning to Korea for his first solo recital in 25 years, scheduled to perform at Lotte Concert Hall in Seoul on September 21. The 67-year-old musician, who was born in Tashkent, Uzbekistan during the Soviet era and is now a US citizen, last performed in Korea over two decades ago, with his most recent appearance being a 2023 collaboration with the Royal Concertgebouw Orchestra in Seoul. This upcoming performance holds special significance as it coincides with Bronfman's 50th anniversary as a professional performer.
The September 21 program demonstrates Bronfman's thoughtful approach to musical programming, bridging romantic tradition with 20th-century innovation by pairing works from Brahms and Schumann alongside compositions by Debussy and Prokofiev. In a recent email interview, Bronfman explained his philosophy behind these musical connections, stating that they are natural rather than forced. "The relationship between Schumann and Brahms is obvious – their music is very different but deeply related," he said. "As for the second half, the voice of modernity begins with someone like Debussy and it's fascinating how it evolves and influences others, in particular Prokofiev."
Bronfman provided detailed insights into the specific works he will perform, describing Debussy's "Images, Book II" as "a world of delicate, shifting light" while contrasting it with Prokofiev's Seventh Sonata, which he characterizes as carrying "the explosive intensity of wartime." Despite their apparent differences, he noted that both composers share "a powerful sense of rhythm, structure and color." He explained that "when Prokofiev follows Debussy, it can feel like a sonic shock wave – and that very contrast becomes the unifying element of the program."
For Bronfman, solo recitals offer a fundamentally different experience compared to orchestral performances. "Playing with an orchestra is a wonderful, multilayered dialogue, but a solo recital is a far more personal conversation," he explained. He emphasized the unique opportunities that solo performances provide, noting "there's the freedom to explore subtle nuances, and I look forward to sharing that direct emotional connection – especially with an audience as focused and passionate as in Korea." Reflecting on his return after such a long absence, he compared the experience to "meeting an old friend you haven't seen in decades but can instantly reconnect with."
As he marks his 50th anniversary as a performer, Bronfman's artistic principles remain steadfast and unwavering. He described his guiding philosophy as maintaining "honesty to the score, respect for the composer and the pursuit of deeper meaning through music." Throughout his extensive career, he has faced numerous challenges, acknowledging, "I've faced injuries, challenging repertoire, moments of self-doubt. But the music itself always lifts me. Returning to the piano and the works I love renews my strength."
Bronfman's legendary dedication to his craft was notably demonstrated during a 2015 London Symphony performance, where he famously continued playing despite bleeding from a finger cut sustained earlier in the concert. This resilience continues to define his approach to music-making. Looking toward the future, he has several exciting projects planned, including a piano trio collaboration with renowned violinist Anne-Sophie Mutter and cellist Pablo Ferrandez scheduled for this fall.
"My goal is always the same – to keep learning, to keep deepening my understanding of the music, and to share that truth with the audience as honestly as I can," Bronfman concluded. His upcoming Seoul recital represents not only a long-awaited reunion with Korean audiences but also a celebration of five decades of musical excellence and artistic growth.
