Interview to Yubeen Kim

This week I bring you a new interview. I have had the opportunity to bring to the blog a flutist who stands out a lot in the best competitions and who recently overcomed his trial period in his new orchestra.

He is the korean flutist Yubeen Kim, principal flute of the Konzerthausorchester Berlin. An outpouring of hard work, closeness with audience and good music.

I hope you like it! And if you do, share the interview in the social media! 🙂

 

Photo: Anne-Laure Lechat
  • How did you begin in music?

My father is a contrabassist in an orchestra in Korea, so I was really friendly and close to music. I could listen to music easily and went to the concerts that he was playing. And I also liked very much the music myself.

My parents suggested me to learn the piano and the violin when I was around 6 years old. I liked so much playing piano that I learned it for a long time.

When I was around 9 years old, I followed my mother to the flute lessons, that she went as a hobby. Those moments made me become a flutist. I loved the flute since then.

 

  • You have made some competitions with a great success. How do you prepare the competitions?

I think it is really important nowadays to participate in a competition that we can have real opportunities to have career as musician. But it is a dangerous way also, because we think too much just to win the competitions.

I think we have to have a reason why do we want to win the competition and which is our goal. My goal helped me a lot in why I had to practice for the competition, how could I communicate more with the public (which is also the juries) and how could I really show my personality in music. Music is magic, and it makes us happy, sad, nervous, cold or hot. Music is really precious. It helped me to control myself to practice well and reasonable. Practice makes perfection, but it would not be compulsory. I mean, we have to really “enjoy” the music.

I prepared the competitions in this way of thinking. We have to think about why are we doing the music. Probably this way has worked well for me and I am really happy to be a musician and an artist!

  • You won recently the Solo Flute position in Konzerthausorchester Berlin. How was the audition? How do you feel in Germany?

Nowadays I am listening and voting in the auditions of the other instruments to choose new colleagues for the vacancies in Konzerthausorchester Berlin. I learned from these auditions that it is really difficult to decide only one person for one position. And now I can understand why the Solo Flute position audition was held 2 times, plus the audition as guest player with the orchestra.

I had first a final round with 4 flutists, and the second time, a final round with 3 flutists. The conductor made us play the orchestral excerpts with the orchestra, but they couldn’t decide one and decided again to invite us as guest principal flutists during their season. Finally they decided to trust me after a concert session with the Konzerthausorchester and Ivan Fischer, our Chief conductor, for the trial year. Now I am really happy to be an official principal flutist in the wonderful Konzerthaus Berlin with nice colleagues. I just need to develop my German!

 

Photo:Taeuk Kang
  • Are there many differences in the orchestral and flute world between Europe and Asia? How do you feel it?

I feel more freer and more natural in the way of originality and musicality in Europe, and really solid in technical aspects in Asia, where we are working hard for it.

Nowadays we have many good Asian musicians who have these both qualities.

I learn a lot of things, and respect many European players. Asians have to learn from their culture. The culture is really important, in my opinion, to understand the composer’s personality or the musical character.

 

  • How do you see the current musical outlook?

In Korea, we have a lot of development in the musical world, especially pop music and classical music.

We are organizing a lot of classical music concerts and more matinee concerts like in Europe, where we have them quite often. This is a really good way for the audience to approach to the classical music more easily, in my opinion.

I think we have to choose a positive and natural way to develop the musical world, but not in the commercial way that we have as tendency these days.

In classical music is still difficult to find a kind of “job”, this is a reality, but I am sure that we can improve more the current musical outlook in order to make classical music more familiar to the public.

 

  • And finally, some advice for our readers.

My goal and dream is to make people feel a variety of emotions with the music.

I would like to suggest to the people who dream to be a musician, to really enjoy oneself with the music. It makes the audience enjoy music.

 

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