Yunchan Lim’s first foray into Chopin’s piano Études follows his impressive Liszt Transcendental Études album, a live recording from the Van Cliburn competition that propelled him to victory. While the Liszt recording held its own against established giants, Chopin‘s Études are a more saturated market. Today, every rising virtuoso seems to attempt these iconic cycles (Op. 10&25).
The Études serve as a technical showcase, and Lim’s virtuosity is undeniable. The technical hurdles seem to vanish; these pieces rarely sound difficult under his fingers. This can be a double-edged sword; Some Études lose their intended impact, like Op. 10 No. 4, which suffers from tempo fluctuations, and Op. 25 No. 4, where the melody gets lost in the speed.
However, Lim excels in the challenge of integrating technical brilliance with musicality. The impossibly fast passages of the “thirds” Étude (Op. 25 No. 6) become part of the sonic landscape rather than a mere display of dexterity. His left hand often reveals hidden voices, as in Op. 10 No. 2, enriching the textures beyond what many listeners are accustomed to.
The slow Études are where Lim truly shines. Op. 10 No. 3 and 6 showcase his masterful control of pianissimo, allowing the melodies to sing with true cantabile. Op. 25 No. 6 is a masterclass in controlled romanticism, heartwarming without resorting to sentimentality.
Lim excels at imbuing the Études with character, that elusive quality often buried in the score. Op. 25 No. 5, the “wrong note” Étude, is playful but avoids caricature. No. 9 from the same set dances with elegance and joy.
The recording boasts a warm, atmospheric quality, lacking the cutting edge of Pollini or Ashkenazy. This complements Lim’s interpretation well. While established cycles like Perahia’s, Rana’s Op. 25, Juana Zayas’ 1983 recording, or Cortot’s (perhaps the least technical but most musical) remain valuable references, Lim’s fresh perspective adds a welcome new voice to this now often-visited repertoire.
Image: Lisa-Marie Mazzucco
