South Korean pianist and conductor Sunwook Kim, renowned for winning the Leeds International Piano Competition in 2006 at just 18, brought his electrifying musicianship to the Barbican in a thrilling program focused on Beethoven, with a contemporary prelude by Anna Clyne. Now a highly respected soloist and Music Director of the Gyeonggi Philharmonic, Kim’s dual artistry was on full display in this dynamic performance with the Chamber Orchestra of Europe (COE).
The COE is often hailed as one of Europe’s finest ensembles – agile, expressive and deeply attuned to chamber-style collaboration. In this concert, it was led by Kim in a play-directing role – conducting from the piano while simultaneously delivering a faultless performance. It’s a demanding format, but Kim made it look effortless, blending crisp musical direction with expressive playing.
The evening opened with the only non-Beethoven piece on the program, Anna Clyne’s Stride. Inspired by Beethoven’s Pathétique Sonata, the piece pulses with forward motion and cinematic flair. Its dramatic contrasts, surging strings and sly nods to Beethoven’s motifs made it a vibrant, emotionally layered opener.
Greeted by warm applause, Kim settled at the piano and quietly took control – directing and performing with a seamless confidence. The C minor concerto is laid out on a grand scale and demands an intense dialogue – a ‘dualogue’ – between the orchestra and the soloist. Without a score in sight, Kim sculpted the performance with grace and precision. His interpretation was subtle and lyrical, full of nuance and lightness, with a hint of playfulness just beneath the surface.
The COE responded with bright, incisive playing, full of character and precision. Among the ensemble, concert leader Stephanie Gonley stood out for her poise and expressive presence. She was a joy to watch, contributing both musically and visually to the cohesive, energetic feel of the performance.
There was a change of pace after interval with the delightful Rondino in E flat major for wind octet. Four pairs of instruments – oboes, clarinets, bassoons and horns – worked seamlessly together in this little gem.
And then it was onto the Piano Concerto No 4, a piece that was performed only twice in Beethoven’s lifetime, at its premiere in 1807 and again in 1808 with Beethoven himself at the piano. It was easy to see why this is often considered one of the most beautiful piano concertos in the repertoire. The final movement of Rondo: Vivace, was a brilliant conclusion – fast-paced and full of sparkle. The familiar rondo theme bounced around the orchestra with vibrant spirit, and Kim’s lightness of touch kept the momentum buoyant without ever losing clarity or emotional depth. The rapport between soloist and ensemble felt organic and alive.
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Though the audience at the Barbican was relatively small, their enthusiasm was palpable. Warm applause greeted the players at every turn, clearly recognising both the technical excellence and the sheer joy of the performance, culminating in a rapturous standing ovation that was rewarded with a brief solo encore. It was a compelling, beautifully balanced evening. In Sunwook Kim, the Chamber Orchestra of Europe has not just a soloist, but a collaborator of exceptional insight and charisma.
Sunwook Kim plays Beethoven was performed for one night only on 12 April 2025 at Barbican Hall, London.
Chamber Orchestra of Europe
Piano/Director: Sunwook Kim
