Welcome back to another episode of the PianoPod. I am your host, Yukimi-san.
For this episode, I invited Dr. Ji-Yoon Kim, who is described as a force of nature who
lives for that special connection with a live audience.
I just finished interviewing her, and this quote is such a perfect description of Ji-Yoon
as an artist. I've wanted to interview her since the get-go, and I knew of her even before
I started the PianoPod through her YouTube channel, which we will discuss in detail during
the show. Anyway, I got an email from her publicist during the lockdown of 2020 to see
if Ji-Yoon can be on the PianoPod, because she just finished writing her book at the
time. The book is called Whenever You're Ready. Oh, by the way, this book is really awesome,
and I have read it a few times, and I highly recommend it. The book tells you about a real
life as a pianist, and it also gets quite philosophical, like what does success look
like to you? What do you want to bring to the world as a pianist? Anyway, finally, after
over two years, I was able to invite her to interview, and I am excited to share this
episode with you today.
Now, I wanted to start a podcast show because for the longest time, I felt a huge gap between
the classical music world and the general public, and I wanted to start this show to
fill the gap. Ji-Yoon seemed to have the similar question or curiosity as mine, and she dedicated
her career not only in her concert performances, but also in audience engagement by creating
innovative concert programs, recordings, writing a book, creating a fan base on digital platforms,
and more. So today, I want to focus on how we as classical musicians should be in touch
with the rest of the world and connect with our audience in this modern and complicated
world in a creative and meaningful way. So before inviting the guest of this episode,
I want to welcome everyone who is listening to or watching the PianoPod for the first
time. I'm a classical pianist and educator from New York City, passionate about creating
a thriving and a meaningful community of the classical music industry through this podcast.
Please visit yukimisongsstudio.com to find more about my work. In each episode of the
PianoPod, I interview a guest speaker who has been breaking exciting new ground in the
music industry. Before getting started, I want to thank everyone for tuning in today.
Please rate the show and review it on Apple Podcasts because every rating or review will
help people find my show. So everyone, are we ready for episode 14? All right, here we
go, dear friends, please enjoy the show. You are listening to the PianoPod where we talk
to the brightest minds in the industry about how they are bringing the piano into the 21st
century. I am honored to welcome Ms. Joo Yoon Kim, described as a force of nature, who is
an award-winning classical pianist, recording artist, art activist, author, and educator.
She has delighted audiences globally with her sensitive artistry, impeccable technique,
and engaging and innovative concert experiences. Her dedication to pushing the boundaries of
traditional classical music to connect with a new audience has inspired a dedicated and
passionate fan base, both at concert venues and on digital platforms. So, Joo Yoon, welcome
and thanks for being here. I'm so excited to get to hear your stories today and then
learn from you.
Thank you for having me.
Of course, thank you. And especially on the topic of audience engagement and how you are
creatively engaging your fans. And I think that's one of the hardest topics right now
in the industry, in our industry, especially with the rise of social media and digital
platforms. But it's not just about our digital footprint or presence. It's more to do with
how we as classical musicians can relate to and reach out to the new contemporary audience.
Yeah. So, and I consider you as like a front runner or the model in our industry in that
way because you've been really dedicating your career and life to audience engagement
in many, many innovative ways. And so, Joo Yoon, I want to start by reading this quote
from your book, Whenever You're Ready. I totally enjoy the book, by the way. And so let me
quote, having a mission beyond just fulfilling my own life's need or self-satisfaction was
one of the key incentives for me to keep going despite difficulties, end quote. So it is
clear to me and I'm sure to many readers and fans that you're such a messenger. And so
what is your mission statement in 2023 after we've been through this pandemic as a pianist
in person? So where are you right now?
I'm actually very grateful that you mentioned that our mission changes over time and I think
it should. It always we have to be nimble and be able to change with the time. But I
think it didn't change much for me. I would say I'm a classical pianist who strive for
a unique connection. That word is very important to me, whether that is a public speaking or
private conversation or teaching piano recording or or piano performance on stage. I believe
that I can make a difference in the world to spread the beauty of classical music one
person at a time.
Wow. Thank you. That's very well said. By the way, I love the background. Are you tuning
in from your home home studio?
Yes. This is my place that I practice every single day. And, you know, as you I don't
know, you can see there's nothing but piano that even the couch doesn't even serve as
a couch. So for me, it's an empty space that simplify my environment. Just emphasizing
the important thing, which is a piano only thing in this space really helps me to focusing
on my life.
Wow. And with the beautiful paintings and photos in the background, what an inspiring
space. Now, what's the secret to finding out your own mission in life?
I think, you know, first, we all have to believe that we all have our own unique reason why
we exist in this universe. I think we all have to start from that belief. It may or
may not anything to do with your jobs. So from that belief, I think it's important to
know ourselves. What do I like? What what are the things that makes my heart pumping?
What is my tendencies, preferences, personalities? What is important to me? What are the things
that I do gain energy by doing not draining? What makes me in the status of flow? Feel
like I lose time and time doesn't even exist. Then I will turn that into what I enjoy the
most into what I can do well, collecting necessary skills and trainings and perspectives that
I think we devote ourselves to improve ourselves in anything. We are more invested in that.
Not only we get better, but also we our enjoyment grows. So the next step would be then ask,
how can you help one person in this world? Not thousands, but that one person with that
very thing that you love and you're trying to be better. And I think that is your mission
that finding who you are, then then in connection with others, then to contribute to the world
in the way who you are.
Wow, thank you. Because I think at one point, you know, you practice so much as a pianist
and you get stuck, right? And you feel like what are the all these hours of practice?
Where am I going to from where I am? Yeah, I think we have to remember there's a reason
why you love playing piano. And I often were so bombarded with environments of a competitiveness
of our other things that you forget that and then focusing on other thing. But if you really
listen to yourself, the very thing is music, if that very thing is piano, then you can
uncover the layering out and then try to be in tune with yourself.
I think discovering that secret such an early, you know, stage in your life, especially your
career, I think that's a big plus. I mean, it's a lot of journaling and a lot of maybe
for some, it's a lot of therapy to do.
Yeah. So also you mentioned in the book that you feel deeply connected with your listeners
in the very moment of sharing music. And at one point you realize that you wanted a concert
to be a shared experience, not a passive participation in a traditional, you know, you'll come out
and bowed in and go backstage. But when did you start realizing the love of how creatively
you want to engage with your audience?
I think when you mentioned and people actually even don't know me, what I do would think
that I go through such a crazy thing. But I think at the end, I'm just trying to get
to core of what I do. It may be just talking about the music, but not about in the history
and perspective, but actually what it means to me emotionally. And I might say, you know,
I feel like I'm swimming in a pond. There's nobody, but I hear this nature. It's peaceful
and quiet. And that might set one piece that I'm about to play. I'm not talking about when
Schumann born in the 18 something something. And I think what I realized is that I grew
up in a very unrealistic setting, which is surrounded by pianist, surrounded by classical
musician. My audience were professors and students who memorize all the Beethoven sonatas
by opus number and they know. But then when I went into the real, real actual audience,
they don't even care. They don't know anything about it. And then when I play certain pieces
and in my head, I was thinking, I made that mistake or make memory mistake there. Oh,
I could have done that technically better. That doesn't make any sense to them. More
important that I realized is they want to connect with me. And I often thought about
my grandma who has no interest in classical music. She actually really into this classical
Korean song that is called trot. If I was thinking, if I were playing a piece of music
for grandma, I would not start grandma Beethoven born in 18 something. And then we'll talk
about grandma. I play this piece like, oh my gosh, I love it because you know, you know,
that I will really come into a compassionate and kind but loving way that I want to so
share this piece of music with my grandma that may not care. But then she also, I believe
that want to connect with me. So then in that place of loving and friendly gesture made
a huge difference to the real audience. And I, I taste that in the outside of academia.
You know, of course, when we prepare for the degree recitals, we go out to the retirement
center or some other settings that play. And every time I play some other settings, I feel
like audience are different. Like, is this a real or is this that get a good grade in
academia is a real, you know, I got really confused because at the end, I have to come
out of this unrealistic laboratory setting to real world. But then that transition was
so huge for me in my mind that I have to change the my world. Unfortunately, the world I live
in in, you know, peer pianist or musicians or even my teachers would not change. But
I have to come down from this pedestal of classical music, but come down to the real
people and not from the person who knows, but from the person that enjoyed it so much
and can't wait to share in a meaningful way. And then when I tried to that little bit little,
then I saw the connection amplify in the degree that I can even measure in any way. And I
think at the end, they helped me to be a better pianist, better messenger, and people actually
get it. I mean, it's not like I'm not selling something that is not sellable. I am selling
the most sellable content, Chopin, Rachmaninoff. They will die. They will love it. But they
just don't know how to get to it. But we know. So I have to find a way to connect it that
that's for them. Right. I totally understand the part of they don't know how to get there
because I live in a big city in New York City. And I teach students who are not really the
musical connoisseur, right? They're just, you know, doing this. Most of them are doing
it for hobby, seriously, but hobby and then, but they live so close to Carnegie Hall, for
example, but they hardly go there because they don't know what to listen to. They don't
know where to start. What's the story behind it? And I think our generation is, you know,
sometimes find the classical not sometimes all the time classical music is boring or
for that something for grandma's not for me. And but then when I bring my friends who's
not musician come to my living room and like, sit and ask them to sit down, like I'm working
on this piece, you know, I want to play for you. And this this means something this heartache,
you know, I don't know what was Brahms was thinking, but this I feel and then I play
it and they're like, what is this? Like, I never heard anything like that. I mean, they're
the one who listen to pop music, you know, everywhere they go. But then they get it immediately.
You know, so I believe that just they need a better context. And we need to give that
context as a musician. And I think that context is not that like fancy thing. It doesn't have
to be. But it's really talking about the core message that we feel as a musician and just
talking but then actually practicing the delivery of it so that you don't really get into the
boring lecture recital. More really like coming from the empathetic mind to to share. And
I think if you do that, people genuinely connect with that music, and then they become a fan
of classical music. And once they become a fan, then they can go explore chamber music,
other whatever the avant garde of classical music. But first of most, we need to get them
into this corner first. And by doing it is more about really nothing fancy, but openly
talking about why you love this. Now, your way is sounds like a two ways. So it's not
just you giving them this performance, but also sounds like you're also receiving something
from them. So by engaging with your audiences, how did they change your life or perspectives?
I think every performance is actually changed my life in a small or big way that I cannot
measure. But I know every performance tremendously difficult. And after every performance, I
gain something. I'm stronger. And, you know, all the students will say, I practiced so
much and I did never make that mistake, but in front of someone so and so I made a this
mistake and that mistake and you know what that imperfection, but yet alive, feeling
alive or also all of your senses are like heightened. That's why we do this music life
music supposed to be connected through souls to souls. And in that space, and I believe
that music completes the circle when we play and share life. And I think that's why every
time whenever I perform, it's difficult, but that's that's the function of the music that
I give but then I receive and you know, the most beautiful concert or the most I would
not say perfect, but the most rewarding concerts. It's not last mistake concerts, but then the
concerts that I felt the most engaged with the music with myself in the music and inevitably
with audience receive as well. And I think always I feel that I do something completely
unimaginable in the concert if I'm open to it, if I'm open for the color to be more different
or in this way, if I try even harder for certain section to be closed differently, if I experiment
on stage, then because I am different on stage, the music response differently. And in that
very moment, I gained something that I can't measure in words. So I remember the very first
concert in the graduate in undergraduate study that I play Chopin fantasy or certain parts
of that show, Schumann fantasy story. And that part moved me and I felt like, Oh my
gosh, so beautiful. Wow. You know, like, it's me but not me. That environment, that piano,
that people, that hall, everything gave me that another layer of life, another dimension
of life, which I become a fuel for my life. So I think that it's complete circle, but
people thank me all the time. I really appreciate what you do. I loved your concert that, you
know, all of those compliments are wonderful. And I'm, I believe truly appreciate their
feedback. But at the end of the day, I gained the most.
Wow, that's very beautiful. So you're an award winning pianist, recording artist, author,
educator, YouTuber, public speaker, and podcaster. And did I miss anything? I mean, we're going
to talk more about your career later. But you know, honestly, I'm curious to know about
your YouTube channel, because you know, I have my YouTube channel with this podcast
too. So your YouTube channel, like, it's like a lifestyle channel as a concert pianist and
very entertaining. And you have over 3000 subscribers. So when did you decide to start
engaging with your audience on YouTube? And what motivated you to do this?
I think, you know, at some point, I think in 2019 or 18, everybody's talking about
you should do the YouTube. I don't know, they still talk about it because I'm already in
the YouTube world. I don't hear it anymore. But everybody was talking about you got to
start YouTube, YouTube, you know, but in back in my mind, like, maybe but not for me, you
know, in front of camera, like, I've, I definitely had that fear of conflicts within me that
I didn't want to be in front of a camera. Definitely, there's a challenge that it's
against my personality. Actually, podcast fits me better. It's just like talking about,
you know, intimate conversation or writing fits me better. But then camera or something
about it was very challenging. But then I was thinking in my head, because it's so challenging,
because I felt the conflicts, I had to face it, at least at first. So I tried to think
right before pandemic, four or five months, be prior to like quarantine started, I was
actually in New York and thought, maybe I record something on my camera, I mean, my
phone and see how it feels like. So I did it. And then surprisingly, I found out that
I can just talk to the camera like a friend. So then I realized, okay, that's better than
I thought, I will try a little bit more. But then pandemic hits. And by the time that pandemic
hit, I already produced maybe 10 or 15 videos that I already have cameras and kind of knew
how to edit and everything. And by that point, everybody had to transition into digital world.
And by that time, I was already doing it. And so for me, was not transition, but something
like, oh, my gosh, I'm already in it. And I was like, a step ahead of others. And then
that's where I felt that the power of digital world that I could connect with people that
I can never connect in Peru, Malaysia, that people actually unrealistic to come to my
concert in person, but then there were real connection that I could make in online world
in a meaningful way. So then I started to look at the world differently, like, okay,
the pandemic happens and the world is going to end. What am I going to do as a performing
artist or pianist? What does that mean? But then I found hope, you know, digital world,
that I could still connect through music through, you know, in the different platform. And it
required me to be resilient a lot more. And I did like weekly live streaming concerts.
I think I was the most active during pandemic in the digital world than any, you know, right
now I'm a little more struggling because of the time and everything. But I think at the
moment I really felt the power of digital world that I think is at this point for everyone,
but especially for musicians existing in a digital world, it's not an option anymore,
but must.
I agree with you. Yes, totally. So to my listeners, I want to officially introduce Ji-Yoon Kim
by let me just read a little brief bio. So Ji-Yoon began studying the piano when she
was four and her love of music propelled her through her undergraduate studies and piano
performance in her native Korea. After moving to the United States, she received her master
of music and doctor of music arts in piano performance with distinction from one of the
most prestigious music schools in the United States, the Indiana University Jacob School
of Music. Ji-Yoon has shared her fresh perspective on classical piano performance with audiences
at venues such as Carnegie Hall in New York City, Chamber Music Society in San Francisco,
and the Stradivari Society in Chicago. During the pandemic lockdown in 2020, she wrote and
published her first book, Whenever You're Ready, offering readers a personal glimpse
into her life as a concert pianist. The self-help book in a concert style structure shares
wisdom and insights gained from Ji-Yoon's musical experience. Ji-Yoon currently resides
in San Diego where she happily practices her piano daily and maintains a studio full of
dedicated piano students and surfs each morning at sunrise. Wow, you are also a surfer among
many other things. Is there anything you cannot do? Tell me a little bit about being a surfer.
I'm curious. Well, I don't think there's not many classical musician surfers.
Yeah, I've never heard, yes. Because that's so against of our disciplined
mind in many ways because in surfing you have to let go so much. I want to drill so much
in surfing. I want to get the trainer and get the perfect form and how to do surf. But
then in surfing, you just have to wait for nature to give you waves and you have to ride
that wave when nature gives you and respond to it's almost like a jazz. You have to always
improvise and you have to play like a child. But in my mind, I want to practice surfing
to be better. So there's a really complex within me, which is helpful for me to be doing
so totally different thing with a piano what I do. And in piano, easily I can stay in the
day home for days, days without even foot outside. I'll be happily being in indoor.
But surfing, you have to be nature. You have to, you know, then you realize that life is
about connecting with nature really brings some you to certain place that nothing else
can take you. It's like walking nature or hiking and surfing is the same thing when
you're in the in the in the middle of ocean in five six six o'clock in the morning, you
see pelicans catching fish for the breakfast or dolphins swim by and you kind of feel like,
you know, everything is fine. Wow, you're living the life. This episode is presented
in collaboration with our good friends at Forte, a free alternative to zoom purpose
built for music teachers. I am happy to announce that Forte will always be free for music teachers,
no strings attached. That's right. Forte offers features optimized for classical music
lessons, including audio quality far superior to existing platforms and allowing you to
hear every nuance of your students instrument. Their colleagues at the Royal College of Music
Aspen Music Festival, Curtis Institute and Berklee College of Music have even used Forte
in their own programs. Forte's mission is to radically expand access to high quality
music education worldwide. Forte always puts teachers and their students first. This means
you can use Forte with your own students for free forever. And Forte will soon introduce
paid features allowing you to connect with new students around the world. Sign up for
free today at ForteLessons.com or click the link in the description. Well, you mentioned
that you in the bio, you know, you started your musical journey at Forte. So how do you
discover a love for piano? You know, I think I'm very thankful for my parents to put me
in this piano Institute when I was four years old, but my parents was not a tiger mom or
never really pushed me to do anything. They're actually very busy to their business. And
it was my responsibility to go to Institute every single day. And they never really told
me to do anything. But I remember my first lesson, which was like five finger pen or
whatever. I don't know. I remember what was it, but I can just assume what that was. It
would be C major something. Oh, up and down. But then my teacher play accompaniment part,
you know, but at that moment, I feel like I'm a concert pianist already. I was so in
love with the rush of sound coming out of this black and white keys. Although I was
simply moving my key, you know, up and down, but I felt that the power of the instrument
that gave me and I fell in love with it instantly. And I think my parents not pushing me, but
I was really drawn into music and I was happy musical kid always want to sing. Hell, I think
I knew right there and then I would be musician. You know, sometimes I feel like I chose piano,
but I often believe the instrument chooses you. So piano chose me, flute choose someone
else trumpet chooses some someone else. So piano suits me and I, you know, I am very
biased, but I still believe piano is the queen of the instrument. You know, it can be independent
interdependent solo chamber concerto intimate yet powerful. There's no other instrument
can imitate orchestra yet most intimate sound that you can create. So, I mean, it's a chameleon
of the instrument and I'm so grateful that piano happened to choose me. So what was your
training like since then you had intensive training, I'm sure in South Korea, I think
you're from Busan. Yeah, yeah. Tell me just briefly about your training. What was it like?
Was it really intense? I think any aging country, especially Korea, very competitive, no matter
what you do is competitive. So, but I was actually competitiveness free until I think
it's, you know, second grade of middle school, because I was just going to institute doing
my thing, like, I didn't I didn't I didn't practice it, but I was not aware of it. But
then one day, I think my teacher or my mom told me, you need to go to art high school
to in order to major in piano. So like, okay, but in order to do that, you have to audition
our high school, then you have to change teacher to more serious, then you really have to commit
and like, okay, I guess I commit. And then I did not realize what that commitment meant.
But that commitment meant that I have to survive in the if I make just simple, like wrong notes
in the Chopin etude, you are going to place low ranking in every piano exam in our art
high school, everyone plays similar pieces. And then you can direct comparison of so and
so plays faster, so and so plays more cleanly, you know, so like, that was my environment
art high school that was very competitive and perfection is required polished performance.
And I guess in that setting, I try really not to be bombarded with that comparison to
each other. Because at that time, I was really having a difficult time personal life and
my my parents divorcing. So I could not afford myself to be in that mindset, but really survive
on my own personal life, which was blessing in disguise at the end, because I just piano
was oasis for me not a place that I have to win. So then afterwards, I went in Korea,
National University is also much cheaper. So I only had a two choice, either going to
Busan or going to Seoul University, which is the best school in Korea. But I failed
to getting into Seoul University. And I thought I my career as a pianist is crashed. Definitely
that's a failure, you know, there's no other way around it. I didn't get in. But later,
I realized that staying in Busan, which is my hometown, it's not that exciting. I went
to university from my home, my own home, you know, nothing exciting. But then I was in
the full scholarship. So I did not pay any money on undergrad studies. And I feel like
I gained that perspective, I hibernated, hibernate and prepare myself for the bigger world, extended
studies afterwards. And I could pace myself in non competitive environment. Again, if
I think I went to Seoul University, then 20 piano major, whoever that were, they're very
competitive. Again, I would really maybe burn out, who knows. But you know, as you know,
the study in classical music goes for a long time. By the time you go undergraduate, you're
already playing piano 16 years already of your life, right? In 20s, you're already been
playing 16 years. But then beyond that is life just starting even education barely started.
But then everybody quit after undergrad even because I'm done with this. You know what
I mean? Yeah, I feel like I gained that energy I actually regenerated during my undergrad,
just to rethink what I love and do I want this and at the same time, I was just taking
my time, which is not it's a luxurious thing that I thought it was not fun. You know, at
that time, I did not like it. Why I'm in Busan still, you know, I've been here for my life,
but I'm still here, you know, but I'm very thankful now.
Then that probably I don't know, staying there led you to maybe have the energy to think
about coming to the United States, no? You know, I always knew that I have to go outside
of Korea. Obviously, classical music is Western music and I need to learn something from outside
of Korea. So I always thought of it, but I in my head, I thought either going to Germany
or USA, but I wasn't sure in my undergrad, but I just knew that I would go somewhere
outside. And so before making that decision, I lived in Germany for two months, and I lived
in about a month in America, actually exchange students in undergrad and South Carolina and
all places. So I tasted before I make decisions. And from that taste of life in Germany and
USA, I've learned that in Germany, I could tell that, oh, well, Schubert must be walking
on the street or, you know, Beethoven was lived in, you know, all of that was such a
so close to the tradition, yet I was foreigner. For the first time, I felt that I am Asian.
What is Asian? I was like, Yoon, what is Asian? But I felt that I'm Asian every single day,
which I realized that I can get over that. Hopefully this is better now in Europe and
in Germany. But at the time, I really felt that for the first time ever in my life that
I am not June, but I'm Asian. And some that I decided also German was so difficult. I
cannot even fake German. And I decided, okay, USA is the way to go. And then I Yahoo, you
know, search at that time, what is the best university in America? And there's Juilliard
and Indiana University in Midwest and then USC in West Coast. So I auditioned all three
and I actually got in all but I chose to go to Indiana. Indiana is a wonderful school.
Everybody wants to go there. Yeah. And how was the experience at Indiana University?
It was like a really straightforward, all glorious. Yes. Wow, that's great. Very fancy
way. It is a fantasy world that because of that reason, it has pros and cons because
you are detached from the real world again. It was really special place. Bloomington is
special place in the middle of nowhere. Indiana is the one of the best school in the field.
Then there's best music, you know, library and the teachers all over the world, you know,
Prassler, Stocker, George Sheppard and all of the great pedagogues there. And then everybody
is talking about classical music. The four different concert hall has at least two or
three different concert grand Steinway to choose from. I can nerd out about Beethoven's
Sonata with the friends for all night long and doesn't feel anything different about
it and all about classical music, classical music environment, even for the people who
live locally very into opera and whatever. So I didn't want to wake up from that dream.
I did not realize that was a dream and fantasy and well, I did it for a while, but I'm glad
that I sense that world even for time period. Yeah, yeah, that's, that's great. Hey friends
and listeners. The piano part is in its third season. Thanks to all of you for watching
or listening to every episode since the launch in 2020. I started this show with a simple
question I have had in mind for quite some time, which is how can we as classical pianists
and music educators present the beautiful tradition of classical music to the 21st century
audience in a fun, contemporary and engaging way? It's been an incredible journey for
the last three years and I love what I do through this podcast, providing a platform
for pianists and educators to think and discuss freely without any judgment about how we can
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colleagues about the piano pod. Let's continue with this episode. Tell us about what you
experienced after you graduated from Indiana University. Was it all glorious? Like all
the job lined up and gigs lined up and then with the red carpet? Is that what it is?
I wish I thought I never actually thought about it, which is a very naive thinking.
But I didn't even think that is naive because my teacher even didn't mention it. My teacher
was all about how to make this Chopin better, how to phrase Bach better, all of those things.
And we never talked about the world beyond my study. And I'm thankful for that to live
in the fantasy world so that I can really be my own artist in that time and dive deep
into the music. But yet I was so detached and I thought maybe at some point that something
will work out. I am doctor, but then when I get the certificate of Dr. Kim, only thing
different was that people can call me doctor. But then same morning, the same sun goes up
and yesterday, today it's the same. Nothing changed. I knock on my door, do you know this
tour to the world? You know, the job application for it, you know, after I became a doctor,
I thought maybe professor is very secure track, you know, and I really thought that that's
what I wanted or that's what I should pursue and that's safe. And maybe that was a dream
of my mom. I don't know. So I pursued without thinking much. But then rejection after rejection,
I was like, I felt so small that just with my resume, like, I study so much. But then
that becomes just one line. She got her doctorate degree in Indiana University. That's it. That's
it. Like, what I did so much. I'm more diverse person than just one line. But how could I
share that, you know, but then I pursue and pursue. I don't know how long I think it was
after that I actually went back to school to study piano pedagogy and master's degree.
By that time, people thought I was crazy to go back to school. But it was a genuine curiosity
of how I could teach better because I wanted to teach four years old as well as the most
advanced shopping pieces. But I could do that advanced pieces, but I had no idea how to
start four years old. That gap was so much and it bothered me so much. So in the meantime,
when I'm figuring out my life, let me get to learn about this gap because I wanted to
be better teacher. So in the meantime, I was applying everywhere. I'm hoping that maybe
this degree will help me to get to another job. Like, what else do you need? I get that
you stop and then another degree in pedagogy. I'm like, I'm a dynamo in terms of degree
can go. But then still, no, you know, and then the final rejection that I got was so
close. I was a final three. And that by that point, I was thinking like, I got this, I've
got it. They should want me like I have the one for you, you know, but then I still didn't
get it. And that was hard. No, that was hard to take at that time. It was in San Diego,
you know, one of the university and that time though, because the no was so close, but did
still know was no at the end. And I was started to think, wait a second, do I want to be a
professor? I don't want to be in some foreign land, start from that letter up for what,
you know, and I started to really question my motivation of becoming a professor. And
then more I searched for it, then I actually like the financial security comes with it,
not the job itself. I really like the idea of it. But I really would hate to teach piano
one for every year. I would hate to write it emails after emails, a committee, you know,
committee members and all of those job follows that like suffocating is not actually academia,
although I was there, academia all my life, but I hate it. I hate that structure. So then
I like, you know, I am gonna close the door completely, not just adjunct to hoping that
I get into some lecture position, none of that, I'm just gonna know, would that be
okay? And I thought, you know, it sounds fairly miserable for me for my, my personality to
stuck in a somewhere just for what, you know, so from then, then I was started to think,
okay, now I'm still jobless, still like nothing. And from there, I started my own business
of teaching studio from the knowledge that I gained from pedagogy classes and all things.
And I took it as a very serious business. And I, I opened Dr. Kim piano Academy in the
thinking that I'm only going to take five students because I want to do something else
too. But I started very legit business model and policies and everything. And that was
one channel. But then in my mind, I want to now devote myself as a pianist. How can I
do that? And that's one of the way I thought as a first step, one of the first step is
that I want to create an album, I wanted to always wanted to have an album, but how one
starts album is that the Deutsche Grammophon is have to contact me, they're supposed to
contact me, but they didn't, you know, like, I want to start, I want to make album, I have
idea I wanted to create an album that collection of all my dear friends that one of the dear
dearest to my heart, so that I could play every concert, it's encore always like among
all of my studies, those pieces always come weaving into my life come and go. So I maybe
12 pieces of those and I want to collect it and I called it as a 10 more minutes because
it's it's it's represent for me the longing, longing for not 10 years 10 days, but 10 more
minutes. And with this pieces that I always wanted to long for more. And so I wanted to
present this idea to the world. And that was also mind boggling idea like, you know, I'm
not starving to death, but why I'm asking for money for others to you know, so it was
very uncomfortable, I was really uncomfortable place to ask for money for my album. But I
decided I am an artist that I'm contributing building with what I can do to create this
is not for me, but to create a beauty into the world. And people donate to art, they
can donate to the symphony, or this organization, they can contribute to my project too. So
I was kind of like started to like mentally train myself and started to talk about talk
to the world that I have this idea, it would be wonderful if you can be part of it, join
me, you know, join me to experience this process. And I did that through Kickstarter that was
$30,000 pledge. And that felt like a lot of money, you know, and who could do that and
and I even talking to my friends was difficult, like, I like, oh, you know, I have a song
project, but I don't know if you can do it, you know, I was very shy about it. But the
more and more I talk about it, and I feel like it's okay, you know, you don't have
to even even just give me like a go for it, you're doing great. That is enough to then
it became successful. It's miracle itself. I mean, there's there's many miracles. But
none of those are that kind of miracle that because I do my best, but I I'm not in control
over that outcome. But the outcome was successful. So I'm thankful. But I made that move. I was
vulnerable in front of people that wanted and they're the interesting thing was that
people donate even a dollar for this album felt like it's their project. It became everybody's
project project. And it it felt like this is becoming a playground with so many people
together. I shared that Oh, now I'm New York to recording this re project. Wish me luck.
Oh, I just you know, now I'm doing you know, cover the photography, you know, they were
there every step of this album, and they become like faithful lifelong fans. And then, you
know, in the similar timeframe, about that time, one of my friend came to Carnegie Hall,
and went to Mitsuko Chida's concert and gave me this postcard and asked Mitsuko Chida and
say, Can you write it? Why not? on top of the postcard? And he said, Why not? And then
it's like, Yes, please write right now for my friend with pianist. And so she gave me
that postcard signed by Mitsuko Chida and saying why not. And until that time, Carnegie
Hall is something like so far away. When you know, like, everybody's like, Oh, when are
you going to play Carnegie Hall? Ha ha ha. Like, you know, it's more like a joke. It's,
it'll be nice. But then it's so far, you know, why? How? Or do I even need it? You know,
I justify myself. And then when I look at that postcard, I felt like, Why not? Yeah,
why not? I mean, it's, it's not like I've done worse, you know, it's another concert.
But how? I was genuinely curious. So I called the next morning at Carnegie Hall booking
office and I called nine o'clock when they just opened the office. And I called and then
someone get up and get the phone like immediately just like a New Yorker, you know, and they
said, Hello, and Carnegie Hall booking office. And I said, You know, you don't know me, but
I am classical pianist. I'm just wondering, how can one play in Carnegie Hall? And when
I said that words, I felt like how ridiculous in my sound at the same time, how many calls
this person gets a day, you know, all of those above. And then he was talking about long
list of things that what you need, you need a presenter, you need the credentials that
you need to like, you know, lullah, whatever that was, it was like long 10 minutes of she
told me what what what I might need it. And then I hang up. And when I hang up and looking
at the wall and thinking like, at the very moment, I felt that there's some light turn
on. Oh, this is not fantasy. So steps. If I follow the steps, I play Carnegie Hill,
just like that. Right. It's not a just like in lullaland. So then I was thinking, like,
what was the steps that she mentioned? Like, what I what I need? And I made a phone call,
whatever that I needed. And, you know, to make a long story short, I was in the Carnegie
Hall debut concert with the people who donated so much in more minutes Kickstarter project
from Indiana from San Diego from San Francisco, they wanted to fly. Oh, my goodness. Carnegie
Hall. I have no connection in New York. I don't know anybody. But it was sold out with
the people wanted to be there. And then in the backstage, I could hear the chatter noise.
And I knew that became sold out on the day I knew. And I felt like, who am I to deserve
this love? Who deserve this? And it felt like it's not my life. It's for them. It's for
them. I need to give 1000% to give back what they gave me. And when I went on onto the
stage, as always, there's a microphone, no program, people are very confused. What is
she's gonna play? And then I get onto the stage and on the microphone and said, welcome
to my dream. And that moment was dreamlike, but it was reality. But it felt like a dream.
And that's how I feel like my life has been. Yes, I made a phone call. Yes, I put the idea
into the world about Kickstarter, my album. But then when I did that, there's another
force carried me, then I go and I go. But the first step was always me. The first vulnerable,
courageous move was always me. But then when I did, vulnerable, open myself, expose myself,
there are people that carried me. And that that's a magic. That's the part that I can't
do it on my own. Beautiful. What a beautiful story. And you're coming to New York again.
Yes, right. Yes. Yeah, that's great. We're gonna talk more about it later. But that's
so amazing. Yes, maybe I'm I need to get a ticket and come and see you. Thanks for listening
to part one of this episode with Dr. G. Yoon Kim. As briefly mentioned during the show,
G Yoon is performing at Carnegie Hall in June 2023. The tickets are available and selling
quickly. So grab your seats now on Carnegie Hall's website, which I listed in the show
notes. Tune in next Tuesday, March 21 at 8pm Eastern for the second half of this fun episode
with G Yoon. Please don't forget to rate and review my show wherever you listen to your
podcast.