Praised by critics for her, “passionate…polished and expressive,” performances, pianist Hyejin Kim is one of South Korea’s most thrilling young classical stars. Born in Seoul, she began playing her instrument at age five, and later enrolled at the prestigious Yewon Arts School. She furthered her studies in Germany, earning her MA in Musical Art as a “Konzertexamen” (highest distinction) from Berlin’s Hochschule für Musik Hanns Eisler. She currently continues her studies at the Colburn School of Music in Los Angeles with Professor Fabio Bidini.
Ms Kim first attracted international attention at age 17 when, as its youngest participant, she won third prize in the prestigious Busoni Competition in Italy. Andrea Bonatta, the Head of the Jury, said, “I am thrilled about her flawless musicality and technique, which promises success as an internationally recognized pianist.”
Since then, Ms Kim has received numerous awards including prizes at the 2008 Hong Kong International Piano Competition, the DAAD Prize, Steinway & Sons Advancement Award Competition and at the Toronto International Piano Competion.
In 2014, she made her debut at the Klavierfestival Ruhr. She has performed and toured with numerous orchestras including the Praha Broadcast and Budapest symphony orchestras; Bohuslav Martin, Seoul, Dae-jeon, Pilsen and Moravian philharmonic orchestras; State Symphony Orchestra of St. Petersburg; Nürnberger Symphoniker; and the Nordwestdeutsche Philharmonie. She has worked with noted conductors including Tomáš Hanus, Jiri Malat and Dae Jin Kim.
Ms Kim made her major label debut in 2013 with her recording of Rachmaninov’s Piano Concertos Nos. 1 & 2, with the Armenian Philharmonic Orchestra under Eduard Topchjan, on Sony Classical.
This season, Ms. Kim will debut with the Hessischer Rundfunk Sinfonie Orchester under Andrés Orozco-Estrada performing Tchaikovsky´s Piano Concerto No 1 in Aschaffenburg.
“Kim’s reading struck me as nearly perfect, each phrase had been thought out and the articulation was meticulous yet emotionally shaped. The last chords in the funereal second movement were not just two sides of the same board but studies in contrasting colors.”
“In aller Klarheit zeichnen sich die einzelnen Anschläge ab, und doch verbinden sich die Töne zu einem singenden Ganzen, einem verinnerlichten zarten Schweben, dem jede affektierte schwärmerische Gefühlsgeste fremd ist. (Each touch is made with clarity, and yet the sounds combine as if singing, and the whole is imbued with an impassioned yet delicate sound.)”
“Hye-Jin Kim scheint mit ihren Händen Pirouetten auf den Tasten zu drehen, sie springt über mehrere Oktaven, um dann in anderen Passagen wieder verträumt entlang fließender Harmonien zu mäandern. (Hye-Jin Kim’s hands appear to pirouette on the keys: she jumps over several octaves and then, in other passages, allows harmonies to dreamily flow.)”