When you read the following, you might want to double-check: “Mr. Lim currently studies at the New England Conservatory with Minsoo Sohn.”
Yes, it’s true. Yunchan Lim—the rising star of the piano world, 2022 Van Cliburn Competition gold medalist at just 18 years old, now a globe-trotting soloist whose face graces concert hall posters and season brochures everywhere—is still a student, still learning.
It’s worth remembering that, despite the packed house at Carnegie Hall Friday night and the thunderous five-minute standing ovation following his performance of Bach’s “Goldberg” Variations, Lim’s journey is ongoing. Very soon, he’ll likely return to the practice room with Mr. Sohn—unless, of course, he’s off playing with the Berlin Philharmonic.
In fact, even seasoned professionals regularly seek advice and fine-tuning from trusted mentors. More and more musicians today proudly highlight their educational ties in their bios. Still, it’s rare to see someone of Lim’s stature acknowledge it so openly and in the present tense.
Music competitions aim to discover and launch exceptional talent, though success stories are rarer than expected. (Among the 17 previous Cliburn gold medalists, only Radu Lupu achieved anything close to Lim’s current level of fame.) Lim’s decision to challenge himself with Bach’s intricate set of 30 variations, after stunning audiences with Rachmaninoff and Beethoven, speaks volumes about his artistic ambition.
Since Bach provided little in the way of tempo or phrasing instructions, interpretations of the “Goldberg” Variations are as numerous as the pianists and harpsichordists who attempt them. Even individual performers often return to the work repeatedly with new insights.
At Carnegie Hall, Lim’s interpretation revealed a young artist with both deep curiosity and the ability to play with remarkable lightness and speed. His performance wasn’t just fast—it carried the kind of effortless, swirling motion that resembles leaves dancing in a breeze.
Throughout the evening, Lim favored rapid tempos and a leggiero touch, making the music cascade almost like the Chopin études on his award-winning debut album. Despite the brisk pace, there was no sense of monotony; instead, Lim highlighted shifting textures and colors, especially during the repeated sections. Except for the return of the Aria at the end, he took every repeat and still wrapped the performance in about 80 minutes.
Hints of what was to come appeared right from the opening Aria. Lim projected a pearly tone into the vast hall even at soft volumes, with an expressiveness that hinted at his affinity for Chopin. His emphasis on inner voices early on felt slightly fussy, but the steady andante tempo promised momentum throughout the performance.
The initial variations established a framework of lively tempos and clear voice leading, particularly during the intricate “canon at the unison” of Variation 3. From there, the music accelerated: Variation 5’s whirling lines, the gliding slides of Variations 7 and 8, and the flowing scales of Variations 11 and 12 showcased Lim’s technical brilliance.
Strong contrasts marked the close of the first half: Variation 13 offered a reflective, ornate sarabande; Variation 14 burst forth with exuberance and cheeky humor; and the minor-key Variation 15 delved into somber introspection, struggling but never quite escaping the gloom.
With the grand French overture of Variation 16, Lim reignited the energy, bringing a proud, almost pompous flair with powerful scales and a fugato ending. The stormy scales of Variation 17 and the triplet-driven whirl of Variation 20 carried that momentum forward. Variation 18’s serene canon and the bell-like, crystalline textures of Variation 19 provided refreshing contrast.
The depth of Lim’s musical sensitivity shone in Variation 21, where voices rose from a shadowy depth. Yet, comfort returned with the hearty canon of Variation 22 and the playful, mocking thirds of Variation 23. Variation 24 led the way into a light, dance-like gigue played almost whisper-soft.
After a long, contemplative pause, Lim introduced the somber Variation 25, often called the “Passion” variation. Its chromaticism and dissonant cross-relations expressed profound sorrow, and Lim sustained its aching vocal line with unwavering focus.
Following this emotional centerpiece, the lively sarabande of Variation 26 lifted the mood, surrounded by a shimmering flurry of triplets. The final variations escalated in energy and brilliance, culminating in a Quodlibet that, rather than providing comic relief, delivered a triumphant, Meistersinger-worthy declaration. Finally, the Aria returned—this time shorn of repeats—a hushed echo fading into silence.
Whether one agrees with all of Lim’s interpretive choices or not, it’s clear he approached the “Goldbergs” with daring and vision. Fortunately, we are likely to hear this extraordinary young artist continue to rethink and refine this masterpiece for decades to come.
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