Violinist Soovin Kim is soloist with the National Philharmonic Orchestra in a program of music from the Romantic era
Where: Music Center at Strathmore, Bethesda
When: 8 p.m. May 30, 3 p.m. May 31
Info: $29 to $79 (kids 7-17 admitted free); 301-581-5100; nationalphilharmonic.org
More: Soovin Kim will conduct a master class for local high school students from 3:30 to 5:30 p.m. May 29 at the Music Center at Strathmore. There also will be a free pre-concert lecture at 7 p.m. May 30 at the Strathmore Education Center
Violinist Soovin Kim illustrates the beauty of the Romantic movement in two solo works during the National Philharmonic’s season finale. His first offering, Dvork’s Romance in F minor, utilizes Slavonic melodies. He follows it with Saint-Sans’ Introduction and Rondo Capriccioso in A minor, a virtuoso piece built upon Spanish dance music.
“They are two of the most beloved pieces of that genre,” Kim says. “Students regard them as show pieces because they are so elegant.”
Maestro Piotr Gajewski rounds out the program with two rich examples of the period, Wagner’s grand prelude to his comic opera “Die Meistersinger” and Mahler’s Symphony No. 1. Based on a tragic tale, the latter closes with a funeral march alluding to the “Frre Jacques” melody.
Suzuki lessons at an early age cemented Kim’s future. By the age of 13, he was concertmaster of the World Youth Orchestra at the National Music Camp at Interlaken, Michigan and determined to become a professional violinist. Two years later, he was chosen for the young artists program at Cleveland Institute of Music.
While there, he won first prize at the 1996 Paganini International Competition. Emulating the master was not so much a personal choice, he explains, as being force-fed the composer’s Caprices when very young. Nevertheless, the lessons he learned stuck. Ten years later, his recording of the 24 Paganini Caprices reached No. 9 on the Classical Billboard chart.
“They’re such a great workout because they push a young violinist to his or her limits and increase knowledge of your instrument,” he says. “It’s not just a matter of gaining technical perspective but also developing a deep understanding of the instrument’s capabilities.”
Upon completing four years of study at Cleveland, he transferred to Curtis Institute of Music in Philadelphia. He credits his teachers at both schools with influencing his career.
“In all my work, I try to appropriate them and everybody I admire, from Yo-Yo Ma to my own students,” he says. “I take away something from everyone’s performance because music is an inspiring art.”
After moving to New York, he met three outstanding Korean music students who are now members of his MIK piano quartet. He is also first violinist of the Johannes Quartet which recently returned from a tour with the Guarneri Quartet now completing its final season. Having grown up listening to and admiring the Guarneri Trio, Kim found the opportunity to share the stage with musical icons especially meaningful.
In addition to appearing as an orchestral soloist and chamber performer with MIK, the Johannes and Marlboro Quartets and in various configurations with major artists, Kim is on the faculty of SUNY Stony Brook and Bard College. One of his passions is commissioning new works under the auspices of MIK.
“A broad spectrum is important,” he says. “Learning each new piece is like getting to know new people, just as teaching is about personal relationships and becoming a positive part of the students’ growth. Every turn in life has meaning, and even if some of my students don’t become professionals, they will always enjoy music for its own sake.”
