The collaboration between Klaus Mäkelä, the Chicago Symphony Orchestra's music director designate, and the talented 21-year-old pianist Yunchan Lim is generating excitement that goes far beyond just a performance of Beethoven. With a beloved symphony by Beethoven and two contemporary works inspired by him, this concert series promises to be unforgettable and is set to become one of the standout moments of the 2025-26 season.
This particular concert, which took place on Thursday, was completely sold out, largely thanks to Yunchan Lim's debut as part of the subscription series. Since winning the esteemed Van Cliburn International Piano Competition three years ago, Lim has rapidly ascended to fame in the classical music world.
After witnessing Lim's performance, it becomes clear why he has captivated audiences. His rendition of Robert Schumann's Piano Concerto in A Minor, Op. 54, was nothing short of mesmerizing, marked by an organic flow and a captivating interpretative style.
Photograph by Todd Rosenberg
While Lim showcased his ability to deliver powerful and dynamic passages, it was his interpretation of the more introspective and slower sections of the opening movement that truly shone. He infused these moments with a sense of softness, reflection, and depth, complemented beautifully by the expressive clarinet solos performed by assistant principal John Bruce Yeh.
What stands out most is Lim's refreshing take on this frequently performed concerto; he avoided embellishments that can often overshadow the music itself. Mäkelä and the orchestra responded with equally inspired and sensitive musicianship.
As if that weren't enough, Lim exhibited a remarkable talent for producing a uniquely beautiful and nuanced tone from the piano, which was particularly evident during his encore performance of Frederic Chopin’s Waltz No. 3 in A Minor, Op. 34, No. 2.
There are still numerous unanswered questions regarding Mäkelä's artistic vision that will remain until he fully takes over as music director in September 2027. However, Thursday evening offered intriguing insights into his approach to programming.
Photograph by Todd Rosenberg
At first glance, the lineup of four compositions from different musical eras might seem disparate, yet they were thoughtfully interconnected, culminating in Beethoven’s Symphony No. 7 in A Major, Op. 92.
Each piece leading up to the finale had ties to Beethoven, including Schumann’s Romantic concerto, which resonates with melodic elements reminiscent of Beethoven’s opera “Fidelio.” The connections were even clearer in the two contemporary works that opened each half of the concert, both making their CSO debuts.
The second of these contemporary pieces, "Con brio, concert overture for orchestra" by German composer Jörg Widmann, was originally commissioned to launch a concert by the Bavarian Radio Symphony Orchestra in 2008, which also included Beethoven’s Seventh and Eighth symphonies.
According to program annotator and scholar-in-residence Phillip Huscher, Widmann’s "Con brio" is imbued with a spirit that echoes Beethoven, and it subtly incorporates motifs reminiscent of the great composer, all while firmly rooted in contemporary music.
The composition features a series of innovative sound effects, notably the dramatic intakes and releases of breath by the woodwind players and the striking of mallet shafts against timpani. Despite its inventiveness and the exceptional precision of its execution, some may find the piece repetitive, feeling that even at just twelve minutes, it stretches on a bit too long. In contrast, the concert opener, "subito con forza (suddenly with power)" by acclaimed Korean composer Unsuk Chin, proved to be a more impactful introduction.
Chin crafted this piece in honor of Beethoven's 250th birthday in 2020, drawing inspiration from the dramatic contrasts found in his music. Her work amplifies these contrasts even further: quick versus slow, abrupt versus sustained, creating an experience akin to Beethoven on steroids.
Utilizing a variety of eerie musical effects, including muted trumpets, deep rumbling strings, and foreboding chimes, Chin’s composition becomes a thrilling and engaging musical adventure. Mäkelä premiered this work with the Royal Concertgebouw Orchestra in Amsterdam, where he will start his role as chief conductor when he begins his tenure in Chicago.
The CSO has played Beethoven’s Symphony No. 7 countless times, yet Mäkelä imprinted his unique interpretation onto the piece. His approach was filled with exuberance, precise dynamics, lively rhythms, and a sense of spaciousness, providing the perfect conclusion to an extraordinary evening of music.
