You're listening to the piano part where we talk to the brightest minds in the industry
about how they're bringing the piano into the 21st century.
Last time we spoke to concert pianist Min Kwan about her early experiences as a student
at Curtis and Juilliard and her latest project, the America Beautiful Piano Variations.
And now the conclusion.
Who do you consider your biggest artistic influences then?
It's interesting.
When I got married early on, I would always sneak out and watch these YouTube.
YouTube was very new at the time and I would spend until like 2, 3, 4 a.m. just surfing
and because it was such a resource of performers or ensembles, orchestras, you know, Vienna
Philharmonie, how many times can we listen to them live?
But there's like whole resource online.
And my husband got so mad because, you know, I'm always like up, you know, doing this and
it looks like it's something bad, but no, actually I was just listening to music.
And even to this day, that was like 17 years ago, but even to this day, I do the same thing.
And he gets mad sometimes.
But I'm telling you this because he said, do you like this that much?
And I say, yes, I do.
So I think my influence is all of these things.
I'm truly fascinated with all aspects, all performers.
Now I'm really into opera.
And I because I have to put on a gala, opera gala in September for my CME.
And so, you know, I can't say this is language or it's a concert that I've gone, you know,
or I'm familiar with.
Of course, I know all the standard one, but I'm now really listening and watching so many
different things, singers.
And it's just fascinating to me, you know, that whole repertoire.
And it's very different than instrumental, right?
So it's another outlet of what we do as a musician.
I love I wanted to be a conductor so badly.
And when I stood in front of Curtis Orchestra as my final exam, that dream was shattered
because like I like my stick was shaking like this, you know, and everybody's looking at
me.
I'm like, oh, my God, what am I going to do?
At least at the piano, you can hide if you're, you know, you can try to control your shaking
hand or whatever.
But yeah, playing the piano and conducting was one of my dreams or I love orchestral
repertoire.
I love the sound.
And so I think the key is not to be limited by our instrument and the space that we have
here, you know, and that's, I think, what limits us.
And of course, being in conservatory, going to competitions, I was in that place also
where I just got stuck here, how to play this, you know.
And I have to say, as a musician, that was one of my least happy, joyful times.
Actually, at times I was miserable because like, I really felt I don't think this is
why I want to be a musician.
You know, I don't think this is how like playing Chopin etude, WCA etude for competition, you
know, working on this repertoire, you know.
I don't, you know, and I'm so glad I found my way out and it was either through chamber
music, which I love, you know, listening to this orchestra.
I told you I always, I was so sad as a pianist, I couldn't be in an orchestra.
And always programming, producing, planning events, concerts with other musicians.
So I kind of had to find my way through it to make it a fulfilling life that I knew was
there for me, you know.
And even these days, I feel very sad that, you know, a lot of young musicians, when they
get stuck.
And I think in a way, that's why I started the Center for Musical Excellence, because
I wanted to really provide a community support system for them to also show them there is,
you don't have to be Lang Lang, you don't have to win this competition.
And even when you do, that's not the end of, it doesn't mean you're immediately going
to be happy and successful.
Of course not, right?
We all know that.
But we all love music just as much as, you know, the person, you know, who won the competition,
the competition.
So how do we make most out of it?
Our passion, our talent, you know.
So that's what the center really is.
Wow.
Yeah, I was going to ask you about that, but you answered some questions.
So that's wonderful.
So from your own struggle as a musician, but it seems like you had also the right support
system and mentorship.
And so that's why you are who you are right now.
So is that the desire that you cause to create this non-profit organization for young musicians?
Yes, yes, yes.
What was actually missing in this modern, the students and artists of the 21st century
to cause you to do this non-profit?
Well, I remember during one of my sabbaticals from the university that I finally had the
time to do something to help students not just coming to study with me at Rutgers or
auditioning, but just young artists in general, because I would see them auditioning for 10,
15 different schools.
Like when I was going auditioning, I only went to audition for Curtis and only audition
for Julia because I knew this is where I wanted to go.
This is who I wanted to study.
Of course, it was a very, very stupid thing.
But nowadays, you know, touring 15 different schools and not really knowing, it just shows
them they are lost and they are kind of, you know, throwing dice and see what happens.
And I felt like as someone who's gone through this path, I could be the mentor and I could
show them the right path.
So sometimes they don't waste time, energy and money resource sometimes.
And also wanted to create a place where all of us, the mentors come together.
And it's not difficult with choosing a teacher is that sometimes the teachers can get very
possessive.
You only study with me.
You don't go to this festival.
You come to my festival this summer or, you know, this kind of thing.
Also you can't really audition for two or three teachers at the same school because
they will find out about it, you know.
So a lot of these things are very awkward situations that young people need guidance
on how to manage, you know.
So that's kind of how it started.
And then it of course grew to something.
So first few years we had a festival in New York with some of my colleagues.
I called them up like Jerry Lowenthal and Bob McDonald and look, this is my desire and
will you join me?
You know, and you know, these people saying yes and students came and it was very small
scale but kind of like a place that was too good to be true because they had lessons with
all these amazing teachers from all these different schools.
And they didn't have to pick one, you know.
And that was kind of like my dream vision.
Even now I always send my students to other teacher or other festival, you should go experience
this and then, you know, that's one.
And then also giving musicians opportunity beyond just giving the best lesson on Beethoven's
nada.
They actually need connection or, you know, for you to call up somebody, you know, conductor
or presenter or whatever or even creating a concert for them or even matching them with
a patron.
So we started doing this and just kind of one thing led to another and I was very lucky
that because I think I'm a spokesperson that is also a musician, that was also a struggling
young musician at one point.
And I think to patrons this is more compelling than just an executive nonprofit coming in
to talk to them, you know.
What do you think about being a 21st century musician, classical musician?
So that's something we really have to talk about.
We are all here as a piano teachers and we feel things are moving quite rapidly due to
all the technologies that are available to so many other variables that we have to think.
So we think of going to this, you know, famous music schools, oh, you're supposed to be practicing
hours hours over the day, which is true.
But in the end, is that really realistic after you are done with this conservatory and so
there's the real life right in front of you and how are you going to face that?
So is that something part of the mentorship that you give to your students?
Yeah, sure.
I think so.
And I think pandemic last couple of years actually brought all these questions to kind
of more forefront urgency because a lot of musicians, young artists are now struggling
after having so many limitations imposed upon them.
For me personally, I think I was lucky in that I was always that very curious kind of
restless human being in that it just one was not enough for me or going to competition
was not enough playing Chopin concerto well was not enough.
But I think this is something definitely that can be shown or guided by a mentor.
I think important thing is for young musicians to not be sidetracked by short term goals,
meaning let me do this jury.
Well, let me get an A or let's get this degree, you know, because that really is not what
being a musician is all about.
And I think that kind of goal is what makes them trip and fall.
You know, so having a more broad sense of why do I want to be a musician?
How can I, you know, contribute and in return because it's only when I give really that
comes back to you, you know, and it's kind of very life's natural process, I think, just
like you when you give a concert and then the audience gives you back that that's that
feeling and we need each other, that kind of thing.
And I think it's same for teacher and students and musicians is that it's recreating using
our instrument to do something else.
And nowadays, I see also a lot of efforts being made to be creative that way people
are going into unusual venues like veterans homes or hospitals or reaching out or nursing
homes, you know, when I was growing up, that was not done.
And I remember actually, I walked into an assisted living when I was a student, because
I also needed to make money.
And I thought they might need they might need some music.
And I remember walking into the reception and I said, Hey, I'm a pianist and my sister
plays violin.
Can we come and play you know, some, you know, I literally did that.
Can you believe that?
And then I got my first hundred dollars.
But those things that done a lot and but it's not something music students should feel ashamed
of or you know, it's not something you pick and choose music is music human beings are
human beings, your audience is everywhere.
They're not just a Carnegie Hall.
You know, they may be your next door and door neighbor or they may be you know, somebody
in trouble, you know.
So I think if you start thinking this way, and I do believe that's what being 21st century
musician is all about.
It's not a specific goal of how many contrarios I play with which orchestra.
Right.
So can I ask what do you see for yourself in the future?
Do you have any interesting projects coming up or things that are still in the idea phase?
We would love to hear about them.
Yeah, I always have ideas and projects in my mind.
That's why I don't sleep at night.
It's so exciting to be a musician.
And many projects, of course, don't really happen.
But still, it's a process because one thing leads to another.
I really believe in that.
So it's never wasted, you know, idea creativity is never wasted, you know.
So I'm still finishing and continuing this America Beautiful project.
And hopefully, you know, more people will even want to come on board.
And you know, when I filmed it, it's first time learning, first time performing, first
time filming.
And so think about it, you know, when so it's not really fair to compare to, let's say,
a very famous pianist playing same concerto 200 times.
Yeah.
So I, I'm not there yet, but I want to be there by playing these new pieces as much
as I can and to do justice to the vision of each piece, the composer.
Right.
So that's one.
And as a as artistic director and also executive director of CME, it's a nonstop work of fundraising,
reaching new patrons, new friends, and connecting our young musicians, also scouting for new
talents, which I'm doing with opera singers now.
And putting on on events September 25th, we have our gala, annual gala.
And with pandemic, we used to do it indoor and a concert hall continued by like a ballroom,
dinner and a hotel or something like that.
But as of last year, we moved it to outdoor.
So it's like a fall festival.
It will take place near where I live in the countryside in Edmonds, New Jersey.
And our friend who has this hundred acre outdoor, it's metal overlooking the hill and the mountains.
It's just really beautiful, dreamy.
And we're going to have a stage set up with orchestra.
Half is opera gala, half I'm going to play Beethoven, choral fantasy with our orchestra
and choir.
And, you know, it's like a family event.
And also there is going to be food truck, silent auction, arts and crafts, vendors.
You know what I mean?
It's just, again, using music to bring people together and just everyone having a good time.
You know, and we also have a bluegrass band opening the act for the classical.
So it's just not just one type of music either.
It's just all kinds.
And we're going to have sushi rolls to hot dog and donuts to pizza.
So again, all kinds of food there.
They want to come.
They want to be a part of that.
To alcohol, bourbon tasting, apple cider.
So yeah, that's kind of my kind of event.
You know, I am in that not minimalistic.
I'm like maximalistic.
More the better, more the merrier.
And this is going to be that kind of festival.
So again, and we have what's called Crystal Society members.
So that's more by membership, more exclusive group of friends.
And we gather monthly.
It could be house concerts or wine tasting, you know.
And it's just, and we always feature our young musicians.
So for them to get to know them intimately.
And so it's like building community, building friendship.
And what better ways to do it than through, you know, music.
Wow.
This is really exactly how I have imagined.
You know, again, even though I have known you basically from watching you, you know,
on the social media, but I think you're just such a passionate and authentic person, you
know, that you share your love, your passion, and you want to help people.
And I also know that I believe your husband is a doctor, right?
I remember watching this interview on GQ.
Is that, and that was your husband.
Oh, yeah.
Clara, I'm so impressed.
You know more about me than I do.
And I believe your sister married a famous tender, right?
I also was a big fan of his singing as well.
And I, so my impression is that I think you're someone who was so good at connecting dots,
right?
And that you kind of, all these things happened, but I'm sure it happened for a reason.
You worked hard all your life.
And now you, I believe your festival also happens in Vienna in the summer.
Is that correct?
You bring these musicians.
So I, we have to wrap up unfortunately soon, but I just want to leave our audience with
one last question before we go into a very fun segment, but I will explain.
But what is your run otherwise for all the musicians coming up?
You know, the next generation, I know there are still so many of us, them in school, actually
part of me still have this little secret dream that I might come to Rock Creek to study with
you.
I never got my doctorate.
And I thought, well, you know, I didn't want to do it early, but I thought maybe when I,
you know, I'm all established, I will come back and so what is your advice for younger
generation of musicians?
Younger generation of musicians or pianist or?
Just artists, let's say in general, especially after this pandemic, right?
And you, I know you have answered quite a bit of it already, but the, you know, for
musicians that are currently still in school, for example, that the, you know, as you say,
there's probably a lot of limitations still, you know, some of them I know that are maybe
stuck in other countries and even young artists that some of us, we interviewed some of them,
they had artist visa and then they went back and they couldn't come back.
So what's your, yeah.
Well, you know, the thing is, I mean, the lesson in music is same as lesson in life
is that I'm also, you know, learning every day, but because I have a little more experience
and age ahead of these young musicians that you're talking about is that I think we've
had some dark times, very, you know, discouraging times, but something always comes out of this
and using this time to actually maybe take a step back and really think how much do I
love music?
How much do I love this profession?
Or how much, you know, do I want to be in it?
And it's a very good question to ask because many of us maybe have come this path because
it was kind of the easiest thing to do or natural thing to do or parents supported it
or for one reason or another.
But and it's not a bad thing to just rethink, right?
And what do I want to do with it?
I have plenty of young colleagues who's now learning coding or has kind of found a different
outlet, you know, performing arts, music administration or photography, or you don't have to be a
performer.
There's many ways to be a musician.
I think that's what I want to emphasize on, you know, and it's not necessarily on how
well you play this one piece of music that really isn't going to get you there.
So that's my advice and to really think about and being creative and people think it's a
two different thing that we only play the things that's put in front of me.
But even that takes creativity, you know, and every time we're moving something, voice
or physical movement, something is happening, there's an energy there.
And you know, I always say it's a chamber music between left and right, you know, even
when you're playing by yourself, or it's not anatomy and science of what's happening with
your body.
You know, it's a constant kind of exploration, isn't it?
And experiment of today, you know, I my shoulder hurts or today I'm going to experiment my
left arm is slow or, you know, I'm talking for a violinist or pianist or instrumentalist,
but take every day as a new kind of new day to explore.
That's what I do.
And it can then you can never get stuck, I think, and also do that for others around
you.
You know, I play these games with my girls and that there you go.
They are very talented.
They play piano, violin, cello, but they don't want to be musicians.
And I understand that it's not for everyone.
Right.
And music, who said this music is not really a profession.
It's really a mission.
You know, I heard that.
And that I think that's a very good way of putting it.
It's not a job.
Right.
Yeah.
And so you're not looking for a job.
You know, it's not just a profession.
So really has to become a way of life.
And if that fulfills you and if that's what you need and you're going to be very unhappy
if you don't do that, then this is a life for you.
Wow.
That is so beautiful.
Thank you.
I'm sure of all of this.
We really appreciate all these insightful thoughts and ideas.
I actually I remembered one of the colleagues, younger colleague I used to work with, William
Oh, I believe he also did his PhD or DMA at Rutgers.
Yeah.
And he also is now quite well known photographer.
And so, you know, that's right.
I know both of his siblings.
We all went to Kansas.
I mean, they were much younger.
But yeah.
So anyway, so that's a beautiful wrap up.
And well, we are going to go into our last segment of the show, which I forgot.
I forgot to inform you in the beginning.
So this will be a big surprise for you.
It's called the rapid fire questions.
So we each of us will have some silly little questions, very short answers.
Don't get scared.
We'll be kind of one of those talk show.
The quick question I have to answer very quickly.
Oh, how fun.
Okay, you got it.
That's right.
So I will be the first one to go.
And are you ready?
Okay, as ready as I will ever be.
Okay, short answers.
Good.
What is your comfort food?
I know you're also foodie.
Oh my god.
Why does that stop me right now?
Courage.
Oh my god.
In Korean, we are the true Asians here.
Cats or dogs?
Dogs.
Great.
What is your word or words to live by?
Oh, life is short.
Hmm.
Got it.
What is the most important quality you look for in people?
Modesty.
Hmm.
Beautiful.
What is the worst quality in people that you want to stay away from?
Arrogance.
Ding ding ding.
Great.
All right, my turn.
Name three people who inspire you, living or dead.
Hubert, my mother, and my husband.
Which historical figure or composer would you want to take lessons from if he or she
were alive?
Mozart.
And which historical figure or composer would you want to hang out with at the bar?
Rachmaninoff.
Oh, interesting.
He's Aries and I'm a Leo and we're supposed to like have a big chemistry.
Perfect pair.
So it's my turn.
So name one piece in your current playlist.
Oh, it's BTS.
Of course.
That is funny.
Great choice.
Yes.
Okay.
Name a book title you're currently reading.
Oh, look, I haven't read a book in a while, but actually I'm reviewing my German, so it's
a German textbook.
Oh, wow.
Wonderful.
Okay.
You get only one song or piece to listen for the rest of your life.
What is it?
It's actually Hey Jude.
Oh, okay.
So the last one, it's the fill in the blank.
Music is blank.
Music is.
Wow.
You can say so many things.
Music is life.
Thank you.
You win.
All right.
Well done.
Thank you.
You guys are fun.
It's been a pleasure.
Oh, thank you so much.
The pleasure is all ours.
Exactly.
Oh my God.
We had such a good time.
And there are so many more questions we want to ask, but unfortunately, there is not enough
time in the show and you just have to come back next time and continue our conversation.
Love to see you guys all live in person.
Thank you.
Thank you, Dr. Ben for joining us today and sharing your insights and expertise.
And thank you for our audience for tuning in.
For anyone who is still interested in learning more about Dr. Kwon's beautiful projects,
you can find her project, American Beautiful online at www.american-beautiful.com and information
about herself and the CME at www.minkwon.net or www.cmemusic.org.
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We will see you at the next episode of The Piano Pop.
Thank you, everyone.
Thank you, Dr. Ben.
Hi, everybody.
Very nice.
Thank you so much.
Thank you.
Who's next, guys?