May 30, 2025: Dr. Chaerin Kim was interviewed by the WUMB-FM 91.9 FM in Boston!

Listen to her interview TBA

May 22, 2025: Dr. Chaerin Kim was interviewed by the WGTE Public Media Radio in Ohio!

Listen to her interview TBA

May 15, 2025: Dr. Chaerin Kim was interviewed by the Alba Ciudad 96.3 FM Radio in Venezuela!

Listen to her interview here!

November 11, 2024: Dr. Chaerin Kim was interviewed by the WGTE Public Media Radio in Ohio!!

Listen to her interview here!

May 31, 2024: Dr. Chaerin Kim was interviewed by the WGCU Public Radio in Florida!

Listen to her interview here!

April 10, 2024: Dr. Chaerin Kim was interviewed by the Royal Hollowway Radio!

Listen to her interview here!

March 30, 2024: Dr. Chaerin Kim was interviewed by the WGTE Public Media in Ohio!

Listen to her interview here!

January 20, 2021: Dr. Chaerin Kim was interviewed by the WCPE Classical Station in North Carolina!

Listen to her interview here!

September 28, 2020: Dr. Chaerin Kim was announced as the winner of the “Future Classic Women Awards” with Air Interview by London Radio Station!

Listen to Winner’s Interview here!

May 18, 2020: Dr. Kim was nominated as a finalist for the “Future Classic Women Awards” with Air Interview by London Radio Station!

Listen to her interview here!

The National Philharmonic Orchestra and El Sistema received the international visit of pianist Chaerin Kim

May 21, 2025 •

The Simón Bolívar Hall of the National Center for Social Action through Music was the setting for one of the season’s most memorable concerts last Sunday, May 18. The event, titled “Rendezvous: Rimsky-Korsakov, Kim, and Rachmaninov,” featured the stellar participation of Korean multi-instrumentalist Chaerin Kim, who accompanied the National Philharmonic Orchestra of Venezuela (OFN) under the baton of maestro Rubén Capriles.

Text and Photo: Alexander Vivas

Welcome to the Rendezvous concert with South Korean maestro Chaerin Kim and the OFN.

May 15, 2025 •

Chaerin Kim and Rubén Capriles

The maestro and director of the Venezuelan Philharmonic Orchestra, Rubén Capriles, and the master harpist and pianist Chaerin Kim from South Korea, who is visiting Venezuela, invite you to the Rendezvous concert next Sunday, May 18th at 11:00 a.m., in the Simón Bolívar Hall of the National Center for Social Action through Music, headquarters of El Sistema.

Alba Ciudad / Interview: Jorge Pinillos

In an interview on the news program Cultura al Día on Alba Ciudad 96.3 FM, Capriles indicated that Rendezvous is the title that inspired and dedicated a work to the maestro Chaerin Kim, which she will perform on the harp, accompanied by the Orchestra.

Capriles indicated that the project began almost five years ago, during the pandemic, and that’s when they first met the distinguished Korean artist. “We artists were a bit isolated, looking to make connections, and after five years of preparation and tenacity, we’ve managed to have the presence of maestro Chaerin Kim here and in Venezuela.”

The program will include masterpieces such as Rimsky-Korsakov’s The Great Russian Easter, Chaerin Kim’s Rendezvous for Harp and Orchestra, and Rachmaninov’s Piano Concerto No. 2 in C Minor.

Maestro Chaerin Kim expressed her appreciation for the orchestra’s connection and human spirit, and how some of its musicians approached her to comment and support this wonderful initiative. “After this first rehearsal we’re doing today, I have no doubt it’s going to be a wonderful concert,” said the pianist and harpist.

Admission is free, but it’s recommended to arrive early. The National Center for Social Action through Music is located a few meters from the exit of the Colegio de Ingenieros metro station in Caracas.

Dr Chaerin Kim: World Premiere of Rendezous Harp with Orchestra

Interview with Brad Cresswell at WGTE Public Media | May 24, 2025

1. Can you tell us about your experience bringing your music to Venezuelan audiences?

Venezuela was absolutely amazing. The way the audience responded was unforgettable—ten curtain calls and two encores! I chose to end with “Amazing Grace,” which is a special piece for me, and some people told me afterward that it brought them to tears. Even during rehearsals, the orchestra members would come up to me to share how much they loved the music. From start to finish, everyone was so warm, kind, and respectful. I felt incredibly honored to play for such a heartfelt and welcoming audience.

2. You’re also appearing in Estonia for your European premiere. Is it the same program?

In Venezuela, I premiered Rendezvous with Harp and Orchestra in the first half, and wrapped up with Rachmaninoff’s Piano Concerto No. 2.

The Estonia performance has a similar lineup, but with a twist—I’ll be performing Rendezvous again, but this time I’ll also be conducting it while playing the harp. Then, I’ll switch roles and conduct Rachmaninoff’s concerto with another solo pianist, plus I’ll be conducting a few other soloists in different concertos. So it’s the same core program, but expanded and a little more challenging—which I love!

3. You’re a multi-talented musician. Have you done this sort of concert in the past?

Yes, I have performed on both harp and piano during the same concert in the past. In 2014 and again in 2018, I appeared as a pianist performing Rachmaninoff’s Piano Concerto No. 2, and then joined the orchestra as the harpist immediately afterward.

In 2014, just two weeks apart, I performed as a soloist on both instruments—playing Rachmaninoff and Debussy’s Danses sacrée et profane. However, 2025 marks the first time I’ve taken on the role of soloist for both harp and piano in a single performance, on the same stage. It’s a new artistic direction that excites me greatly, and I plan to continue exploring this dual-instrument format in future concerts.

4. What led you to become a conductor?

My journey as a conductor began when I was 12 or 13 years old. During middle school, there was a choir competition, and I was asked to conduct, so I did. It was my first experience leading an ensemble. Later, I went on to conduct church choirs and public school orchestras.

Last year, I was honored to be named conductor-in-residence in Estonia, where I now conduct each summer. Like all the instruments I’ve studied, conducting came into my life naturally. It wasn’t something I planned, but rather something I was called to by the musicians around me. What I enjoy most is the creative freedom—interpreting the full score, imagining what the composer intended, and bringing that vision to life with the orchestra. Every time I step onto the podium, I feel incredibly inspired by the collaboration that creates truly unforgettable performances.

5. Is it hard to conduct your music? How does it work?

I would say it is easy. If I am the composer, I know why I wrote each note, harmony, and melody. I know why I scored things a certain way. I already know why I gave parts to each instrument, so from that point of view there is a clear vision for what the composer wants to reflect and what the conductor will focus on and do, there is no need of communication between composer and conductor as I am both.

6. Tell us about the Guinness Book of World Records and your entry for one soloist performing two different instruments in two separate works on the same day.

While I’m aware that performing as a soloist on two different instruments—particularly harp and piano—on the same stage and in the same concert may be a rare achievement, I don’t focus on records. It’s more meaningful to me that I was able to bring such a unique musical experience to life.

The harp has a spiritual, resonant quality, while the piano blends powerfully and majestically with the orchestra. Each has its own soul. To perform both in one evening felt deeply fulfilling. If I were to leave this world tomorrow, I would feel content knowing I had the chance to share something so personally significant.

7. To remind our listeners, give us some background on your career and how you started on the piano as well as the harp?

I started to learn the piano at the age of 6, then at around 9 years old, I was playing cello, then violin as well. Later, at the age of eighteen, I started to learn the harp. I love all musical instruments, and appreciate each one’s own beauty and charm.

8. How has your upbringing affected your musical work?

My parents are music lovers, so I remember in our house, there was always music playing. My mother used to say that when she was pregnant with me, all day long, she would listen music. So, I think music was introduced to me prior my first arrival to this world.

9. You have many different versions of Rendezvous, how is the version for harp and orchestra different?

The Orchestra version was created first and I blended it with the harp part. The Rendezvous with Harp and Orchestra version is particularly close to my heart because, as a harpist, it reflects my own relationship with the instrument. I wrote the piece in just two days last Christmas. Usually, the harp gets covered by the orchestra in a lot of pieces, but here I added two cadenzas to let the harp shine on its own, while the orchestra subtly colors the music around it.

I originally thought about making it three movements, but I really liked the idea of just one – it captures a special, nostalgic mood. And this piece is dedicated to my husband; parts of it, like the second cadenza, actually reflect moments we’ve shared, such as watching fireworks together.

10. What led you to create the many different versions of Rendezvous

I wanted to experiment with different instruments to see how the piece could take on different colors and emotions. Rendezvous is all about connection—whether it’s between life and death, or between people. Through each version, I aim to explore the meaning of existence from different perspectives.

I’m naturally someone who likes happy endings, so that’s why the piece starts in A minor but ends in A major. For me, it’s a reminder that no matter the struggles we face, there’s always a way toward a positive conclusion. Each version lets me explore that theme in new ways, depending on the instrument.

11. Rendezvous also has words; can you tell us what that song (and Rendezvous in general) is about?

The lyrical version of Rendezvous delves into the complexities of love and identity. It tells the story of a man and a woman who fall in love, believing they are past lovers reunited. The woman conceals her true identity and pretends to be the man’s previous lover. As the relationship deepens, both realize that they are not actually past lovers but rather reflections of their former partners. Despite attempting to separate, they ultimately embrace their connection, understanding that their love is rooted in the search for something familiar.

12. It exists in English, but the song has versions in 80 different languages – do you speak all of those languages? How did that work – are the poems the same, just in translation?

After the piano version was completed, I wanted to put lyrics to the music. I only speak Korean and English and understand little of some other languages as I have looked into different languages for fun.

While I originally wrote the lyrics in Korean, I started studying other languages, thinking it would be nice to put lyrics to this song in many different, beautiful languages.

The lyrics remain the same, I just had to choose words I wanted to use, let’s say, for feelings of happiness, we can use words such as joyful, delighted, cheerful, satisfied, excited, amused etc. You are a great singer, so you know that each word should line up with an exact note in the most natural way. It should be able to open up some tone depending on words, so I chose words after studying the languages and working with some native speakers from each country. Most of them were not musicians, so mainly I had to decide how the song flows depending on words.

I recorded 80 versions, doing my best to pronounce the words with the hope that one day native singers from all these countries could sing this song to give hope and warm feelings to other people’s hearts.

13. When and why did you write the first version of Rendezvous?

I wrote the first version of Rendezvous one night in 2013, when I was feeling sentimental. It seemed as though the music was flowing through my mind, so I sat down at the piano and started playing, letting the melody come out without making any changes or edits. The whole thing just flowed naturally, and the piano version came together in one go. I decided to write it in 3/4 time because I thought it would let the piece express both sadness with a slow, steady rhythm, and the light, happy feel of a waltz.

14. Had you already been a composer?

I believe we are all composers in our hearts, like we are all chefs. The only difference is whether we are top chefs, providing tasty food to our family or loved ones or not. I try to draw on my own feelings and tones to be delivered a certain way that the listener will feel calm, feel loved, and feel we are all connected-that we are never alone.

15. What would you say to someone who was listening to the version of Rendezvous for orchestra and harp for the first time? How would you introduce it?

I’d ask them, “Do you have someone you love?” and then I’d tell them to listen closely to the music. I really wanted to capture the feeling of true love through the sounds of the harp and orchestra. Life and death often feel like distant concepts, but they’re really so close, constantly in our lives. In this piece, I wanted to show that death isn’t the end—it’s just part of a bigger journey. Life is a celebration, and death just leads us into something eternal. Through the music, I hope people can feel that connection.

16.You’re also known as an educator, what do you think is the most important thing your students should know about music?

Music is not taking but giving. You should give and never think of taking. You do music, not only because you love it, but you know that through your music, many people can be cheered up or can feel healed from their pain. I would want them to know that music is your way to help people in the world, and to not just keep it for themself. So, I would recommend everyone to share their music because where there is music, there is often peace and love.

17. Perhaps you could apply that question also to the general public. What should people know about your music?

My music is my meaning of existence. I feel God blessed me with music to share love with people, so I am deeply grateful to God. You know, musicians speak through their music, so after I share my music, audiences approach and share their love. It touches them so it feels they met me, they know me, and they saw my soul. It feels special that people meet me without single word, but only through my music.

Dr Chaerin Kim: Rendezvous in Performance

Interview with Brad Cresswell at WGTE Public Media | November 12, 2024

1. Tell us the story of Rendezvous. What is it about?

Rendezvous Orchestra Version is about “Life and Death.”As I get older, I think about life and death a bit more, trying to manifest our lives to the music where it can perhaps most transparantly express about the meaning of it without words. Life and death is something we all go through, and also we witness daily around us. As we loose lives, of course, we are sad seeing our loved one leaving, but also we can celebrate and cherish their lives which they pass onto us with many infinity legacies I believe.
I tried to present the importance of human lives, and also how it can be seen that life and death are equally beautiful for each person to fullfill their journey, and connects to the next generation after generation.

2. How many versions are there?

Rendezvous has a total of 100 different versions. I started working on it in 2013, beginning with the piano version. From this original piano version, I have scored 100 versions of Rendezvous, including versions for orchestra, harp, piano, and voice, with lyrics already translated into 80 languages. There are two upcoming premiere of Rendez versions; a flute solo version which will be premiered in New Music Festival this fall, and harp concerto version will be premiered next summer in Europe.

3. What did you want to say with this piece?

I wanted everyone who listens the piece to feel that mirror images of lives. As there are sunny days, there are rainny days, and it always continues, and we can percieve as the beauty of lives like taste of food- sweet, sour, spicy, bitter, as all tastes combine, it makes beautiful as a whole. Likewise, colors, if the world conclude only one color green only or blue only, we won’t see the beauty of surroundings, but as all colors combined, world is beautiful.

The piece starts on A, end on A, to be reminded of where it began, similar as the cycle of life and death, of happiness and sorrows, and of major and minor. From ashes to ashes, dust to dust, God sculpts a divine creation celebrating this rendezvous of coming and going.

4. What is the significance of the title?

The title Rendezvous is a french term, as a meeting, and it applies for life and death to meet, meaning that even death seems the ending, but that leads to another life, and it is not over or ending, but only meeting between life and death.

I wanted to have a poetic meaning of it, and thought Rendezvous felt the most sutiable for its meaning.

5. What does it mean to you, personally?

Rendezvous orchestra version can present my own life or my own monologue that one day I will die as I was born, but I want to leave the world with many happy memories in my heart, feeling light and happy to know I passed and left something good for people around me and for next generation.

6. Tell us about the European premier of Rendezvous in Estonia on July 21 of this year. How did the concert come to be?

An international festival invited me as a piano and harp faculty asked me to be a conductor of my own composition Rendezvous along with conducitng 5 other concertos.

7. Have you been to Estonia before?

This was first time, but I loved.

With standing ovation honor from audiences who were warm and sweet, they seem love music. So, it was great to meet Estonian audiences.

8. What was it like to hear your music with a group of professional musicians?

I am very thankful for all musicians who made miracle for my piece, they cherished, and they really played with all their hearts.

From my baton, I only can imagine the sound I draw, but orchestra musicians are the one who create the miraclous sound, and they did it.

9. Tell me about the orchestra. You conducted it, yes?

Orchestra members were from Estonian national symphony, and international festival members, so it was mixture of all these wonderful musicians. They were absolutely fantastic, so it was easy to conduct, and we all had wonderful time together.

10. Talk about your interest in conducting and what led you to the podium, as it were?

First time I conducted was when I was middle school, for our school choir, since then I conducted orchestra at school, and church choir.

Rendezvous gave its premiere in Boston, south American premiere in National Philharmonic in Caracas which actually invited me to conduct their orchestra.

I thought conducting my own composition giving European premiere would be very meaningful I thought as I can express exactly the way the piece tells, so I went for it, and it was absolutely phenominal experience.

11. You’re of course a multi-instrumentalist, and as we’ve heard, also a conductor. But you’re obviously also a composer. What inspired you to compose?

What inspired me to compose was simply music itself. I play several instruments, some are concert level being soloists, about 4 instrumetns I played at the concert, but rest are for hobby enjoying playing. Besides music, sadly I am not good at other things,, so I think I found music to express my feelings and thoughts, and composing seemed one of the way that I could do.

12. Let’s talk about your background a bit. Where did you grow up?

I was born in Seoul, South Korea, lived there till when I was 22 years old, but I felt for studies in abroad in UK, and US, and have been abroad more than years I was in Seoul, so maybe I grew up mostly in US? 🙂

13. What drew you to the piano and the harp?

We had a piano at home, and right after I came back from kindergarden, I used to play songs on piano as I have a perfect pitch, then parents introduced me a piano teacher, and later, I studied the harp.

14. Did you come from a musical family?

I would say not music majored parents, but definitely music lover parents, so in our house, there was always music around us.

15. What do you want our listeners to know about you and your music?

My main I want to pass is “hope, faith, and love”, above all, most importantly love.

I want anyone listen to my music to keep up their hope regardless, never too lose their faith knowing God is sovergin, and above all, most importantly there is love behind and beyond anything.

Dr Chaerin Kim: An Inspiring Journey to Musical Success

Written by Chloe Hayler | June 3, 2024

Dr Chaerin Kim is an overwhelmingly talented multi-instrumentalist who has released 7 albums and 91 singles to date, many of which have been played on radio stations across the UK and the US. She is one of the few people in the world who you can see performing as a soloist with two instruments on the same stage as an orchestra. With an impressive music education at prestigious institutions, such as Yale University and the Royal Academy of Music, Dr Kim has decades of experience in the music industry which she has used during her time as a teacher and a judge at over 40 international competitions. She flew all the way from Florida to the Insanity Radio studio, with her suitcase in tow, to talk to me about her fond memories of loving music as a child, her career highlights, and the incredible opportunities she has lined up in the coming months.

When did you know you had a passion for music and you wanted to pursue it as a career?

From a young age, I was enveloped in a rich musical environment. My father’s proficiency with various instruments, including drums, saxophone, trumpet and the Korean flute, alongside my mother’s talent on the piano and the guitar, laid the foundation for my passion for music. The sheer delight I experienced when I received a piano for Christmas as a gift at the age of five, marked the beginning of my formal music education. As I embarked on piano lessons at the tender age of six, I was propelled by a deep-seated love for music that continues to drive my artistic journey to this day.

You have a long list of qualifications and certificates, how invaluable were these prestigious schools and early experiences to your career?

These esteemed institutions not only equipped me with the technical skills necessary for a career in music, but they also instilled in me essential values, such as discipline, perseverance, and the courage to dream big.

You play many musical instruments, were these self-taught or did you have lessons, and do you have any favourites?

I took lessons in piano, harp, violin, viola and cello when I was young, and I later took lessons in accordion and drums. I was a self-taught guitarist. Every instrument holds a special place in my heart, offering a unique avenue for artistic expression. While the harp and piano are my primary concert instruments, I relish the versatility and diversity each instrument brings to my performances, allowing me to explore a myriad of musical genres and styles. This penchant for variety stems from my insatiable curiosity and the desire to explore the nuances of musical expression across different instruments.

What is your composition process like and what are your sources of inspiration that help to create your pieces?

The composition process to me is a journey of inspiration and creativity. When it comes to crafting musical pieces, I find that inspiration often strikes in the most unexpected moments. Whether it’s a fleeting melody that dances through my mind or a harmonious chord progression that resonates in my heart, the composition process is a deeply personal and intuitive experience. From the ethereal melodies of ‘Rendezvous’, to the intricate harmonies of my concerto, each piece is a fruit of love and a testament to my passion for music and my commitment to artistic expression.

What is your standout piece that you’d recommend people to listen to?

If I were to recommend a standout piece from my repertoire, it would undoubtedly be ‘Rendezvous’. The musical opus holds a special place in my heart, not just for its melodic beauty, but also for the profound message of unity and hope that it embodies. With over 100 different versions spanning various instruments and languages, ‘Rendezvous’ is a testament to the transformative power of music to transcend cultural boundaries and unite hearts across the globe. It is my fervent hope that this piece will continue to inspire and uplift listeners for generations to come.

What is it like being a judge and has your own talent helped you with judging other music?

Serving as a judge in numerous international competitions has been a humbling experience. It allows me to witness the immense talent and dedication of aspiring musicians while also providing constructive feedback to aid their growth. While technique and accuracy are essential criteria, I place particular emphasis on the performer’s connection to the music and their ability to convey emotion and authenticity on stage. Ultimately, it’s the passion and individuality of the performer that truly resonates with me and leaves a lasting impression.

What is it like being a teacher and passing your knowledge on to others?

Teaching is an incredibly fulfilling aspect of my career and I deeply value the opportunity to impart knowledge and guidance to my students. Beyond merely passing on information, teaching allows me to positively influence various aspects of my students’ lives. By understanding each student’s unique background and experiences I tailor my approach to address their specific needs and challenges. Building trust and fostering a supportive learning environment is paramount to me, and I am grateful for the wonderful students I’ve had the privilege to work with over my 25-year teaching career.

What upcoming projects do you have and what can we expect from you in the coming months?

Currently, I am immersed in an exciting project, a dual concerto for harp and piano, which is a unique endeavour that I believe has never been attempted before in music history. Additionally, I am honoured to be associated with a ceremony at the Royal Academy of Music. Upon my return to the US, I was invited to serve as a judge at the World Championships of Performing Arts in Hollywood, followed by conducting duties at a music festival in Estonia. Furthermore, I have received an invitation from the National Philharmonic Orchestra of Venezuela for a world premiere concert, where I’ll have the privilege of performing as a soloist on both piano and harp while conducting my composition, ‘Rendezvous Orchestra Version’.

By the end of the interview, I was left with the certainty that Dr Kim was not only one of the most dedicated, passionate, and talented musicians that I had ever come across, she is also someone who has an incredible amount of humility when discussing her success. Each of her responses were truly inspirational and I feel so fortunate to have had this conversation with her straight after she landed at the airport.

Dr. Chaerin Kim: Rendezvous

Interview with Brad Cresswell at WGTE public media | March 29, 2024

1. To let listeners get to know you better, tell us about your musical background?

I am a harpist, pianist, composer, and conductor. Currently, I teach both Harp and Piano at the University of Massachusetts Boston.

This summer, I have been invited to be a guest conductor at a festival in Europe.

I hold a B.A. from Ewha Woman’s University in Seoul, a Post Graduate Diploma from the Royal Academy of Music in London, a Master’s degree from Yale University, and a doctorate from Boston University.

2. What were your earliest memories as a child about music?

My parents, who played various instruments, immersed me in a musical environment.
Around age 5, I secretly prayed for a piano. As a Christmas present my aunt surprised me with her old piano, not knowing about my wish. It was a magical moment, and playing tunes by ear from kindergarten songs soon led to proper lessons at 6.

3. What instruments do you play? Which was the first? Which do you identify with the most?

I play 10 instruments, with the harp and piano as my primary concert instruments. While the piano was my first, I don’t favor one instrument over the other. Each instrument resonates with me differently, depending on the musical expression I seek that day.

(piano, harp, violin, viola, cello, harpsichord, accordion, guitar, ukulele, and drums)

4. Tell us about your work as a composer?

I was never trained as a composer, so I felt humbled when I was awarded the future classic women awards in 2020 by WRS, a London radio station via audience voting after airing my composition Rendezvous along with other harp music I played.

When I compose, it is always very natural. I usually compose within 30 mins or within a few days.
For example, when certain melodies and harmonies ring in my heart constantly, I just write them down without a break. That was how Rendezvous’ piano version was composed within 30 mins.

Currently, I am writing a concerto, and I wrote the 1st movement within 2 days.
For me, it works more as an improvisation. I can never compose a single piece for many months or years. I think it is because once melodies and harmonies are ringing in my heart, that is the time I need to write them down. It does not happen all the time, so I may not have any new ideas to write a piece for a few days, months, or even years. However, when it happens, it happens. So I let it happen without any editing. Even though it may sound raw without much editing, I like its innocence, not much edited, raw sound from the original that I kept hearing from my heart.

To compose music feels active, as composers need to create the musical piece for performers to deliver and create from something to something- like performing music which composers already wrote.Composers however, create from nothing to something- like literally composers have to create something that never existed before, but using their imagination, and sound and melodies that are ringing or haunting in their hearts, they engrave life into notation that countless generations can continue to perform.

5. How many recordings have you made? How many pieces have you composed?

I’ve released 146 songs across 7 albums including 55 songs and 91 singles. Additionally, I’ve arranged 20 songs and composed 94 pieces.

6. Looking at your albums, you have a lot of different versions of your piece “Rendezvous” – can you tell us about that?

Rendezvous has a total of 100 different versions.

From this original piano version, I have scored 100 versions of Rendezvous, including versions for orchestra, harp, piano, and voice, with lyrics already translated into 80 languages.After the piano version was completed, I wanted to put lyrics to the music and make it a song. While I originally wrote the lyrics in Korean, I started studying other languages, thinking it would be nice to put lyrics to this song in many different, beautiful languages. I recorded 80 versions, doing my best to pronounce the words with the hope that one day native singers from all these countries could sing this song to give hope and warm feelings to other people’s hearts.

7. Do you have a favorite version of Rendezvous?

While I appreciate all versions, the original piano rendition of “Rendezvous” holds a special place for me.

8. What would be the one thing you want to tell young musicians?

My advice to young musicians is to combine passion with hard work. Whether naturally gifted or a dedicated worker, true fulfillment comes from genuine love for the craft.

9. What does music mean to you?

I would love to say music means everything to me, but it does not. It is my husband who means everything to me on this earth.

For me, music is a deeply personal and subjective experience, but its significance can vary greatly from person to person.
Music is a way for me to connect with God. Everyone has their own talents, gifts from God. To me, I believe God gave me a musical gift, so I want to cherish it, and would like to use it to seek ways to get closer to God. As a Christian, even though my music is not necessarily a sacred genre, I still personally feel that. Whether I compose, conduct, perform, or teach, through music I am doing the work I was given by God. So, it feels precious.

10. You’ve been a judge at many competitions, what is your philosophy of judging other musicians?

Young musicians engage in competitions as a means of self-improvement. Through meticulously preparing repertoires, they not only enhance their musical catalog but also develop the skills to control nerves, overcome stage fright, and establish connections with the audience.Participating in competitions provides valuable performance opportunities and contributes to the overall growth of emerging musicians.From my perspective, competition is not about outdoing others. Despite being invited around 100 times to 38 different competitions as a judge, I firmly believe that the true essence of competition lies in challenging oneself. It involves surpassing personal limits, refining discipline, and evolving musical interpretation over time.Unlike disciplines such as mathematics with precise formulas and answers, music defies quantification through competition scores. Art and music are 인해랜틀리 inherently personal and subjective experiences.In essence, competitors who comprehend the genuine purpose of entering and preparing for competitions find fulfillment in the 프래퍼토리 preparatory process itself, rather than solely fixating on the outcome. This mindset allows them to distinguish themselves from their peers.From the judge’s point of view:Technique, accuracy, and control. Adherence to the Score,Versatility and Connection with the Audience are also important. I assess Musicality and Interpretation, Artistic Expression, and a performer’s ability to communicate and connect with the audience through their musical expression, phrasing, and dynamics. After that, Creativity and Individuality, Stage Presence and so many other factors are important for judges to observe I believe.

To me, what I see as the most important aspect is whether this performer is truly fully in love with their music. Whether there is that connection to the music they are playing, or the instrument. The earnest approach towards music is very important. It cannot and will not be shaken if a performer carries on his or her own with solidity. So, I seek out that approach as the most important thing. Other elements that I mentioned, of course, I do consider. I do give points for each of those, but in the bigger picture, I think that true love and passion for an applicants’ music moves my heart.

Also, I personally like stylish performers, meaning applicants should not just sound like they play just because their teachers told them to. They should have their own interpretation they preserve from their life experiences, applying and blending with composer’s commands. When I hear that unique performance, I love it.

11. What is the most rewarding thing for you as a musician?

The most rewarding aspect of being a musician is knowing that my music positively impacts someone’s life, changing perspectives and bringing joy.

12. What are you looking forward to, or what do you still want to do as a musician?

As an honored associate of the Royal Academy of Music, I anticipate the upcoming ceremony in London. Music remains my calling from God, propelling me to continue seeking and drawing closer to Him.

DIVERSITY, INCLUSION & BELONGING

Written by Chaerin Kim | September 3 , 2023

During my music career, I have been fortunate to have met a multitude of fellow musicians from around the world. Through teaching, I have worked with many students in the United States, taught students in Asia via masterclasses, and virtually hosted live lessons for learners across the globe. As a judge for 40 international competitions, I have the pleasure of hearing musicians of different ages, nationalities, and backgrounds, and experiencing their unique methods and techniques.

When I first started performing, I had a much more insular experience. The world has advanced rapidly, especially in the past three years with remote learning and virtual performances. These days, musicians do not need to visit individual cities to share their talents – music can spread very quickly via traditional and social media. One viral video can bring an unknown talent into a global spotlight, and as younger generations discover music outside of their cultures, the world becomes a smaller, friendlier place.

In my lessons, I embody the broader meaning of educator. Not only do I teach musical knowledge and skills, but I provide them with the deeper meaning of what purpose musicians serve, and what they can do for people – not only for their country or society, but the world as a whole. A song that evokes the listener’s feelings can give that listener more inspiration than a speech. Music can be a call to action. It has the power to bring together two sides, and help find common ground. More than any politicians, or businessmen with soapboxes, the massive power of music can change the world. For musicians, we do not speak, but we speak through our music. Musical language has the power to move hearts of people. I would like to pass this deeper meaning of music to all students. They may be from different backgrounds, but in the classroom, they bring their diverse experiences to blend beautifully, and each person walks away with a new understanding of the world.

Some musicians define themselves as soloists, but in the end, music is about harmony. Soloists will perform with orchestras or accompanists with whom they need to find balance and tune to each other’s differences. Music is not a competition, it is embracing each other, and giving each other the opportunity to shine. Even soloists who are adamant that they never play with other musicians need to balance their own tone between right hand and left hand, and reflect on what the composer truly wanted from the piece. They need to seek its meaning, and find harmony between their own interpretation and what composer intended.

For my students who are eager to participate in competitions, my advice has always been that competitions are there not to define what level they are, but to motivate them to broaden their repertoires, horizons, and opportunities. Participating in events encourages competitors to share their music and their musical journeys, and even spectators can leave having learned something.

Inclusion is essential in any field, and I have always emphasized the importance of it to my students. We live together, we breathe together, we create music together. As there are composers, there are performers who give premieres of their works, and audiences to listen. We all support each other. I learn more from my colleagues who are working hard, with a sincere approach towards music. I want all my students to experience that and to see their fellow musicians not as competitors, but as wonderful teachers. The class may start as strangers, but by the end of the semester, I hope to see them moving forward, developing, improving, and sharing their musical lives together.

NARRATIVE SUMMARY

While Chaerin Kim started playing the piano at the age of six, she fell in love with the harp when she was eighteen. To date, Chaerin has learned ten different instruments, with harp and piano still her favorite ways of speaking through music. Through playing a variety of instruments, she realized that they all share a commonality – performing music is not only about reading, counting, and playing the right notes. It is something much more. Music, at its most basic, is a language that speaks to all people, regardless of the performer’s nationality, age, or instrument. It touches the listener’s heart. With this in mind, Chaerin composed Rendezvous, an experimental and innovative piece that speaks one message across its 100 versions.
Chaerin has released 146 songs across seven albums and ninety-one singles, and has performed around the world, receiving accolades from universities, radio stations, and international competitions. Her harp performance was used in the 2017 award-winning British movie Kaleidoscope. In addition to performing, she also has lent her expertise as a judge 100 times across 40 competitions. However, Chaerin’s true passion is encouraging others to find their unique musical voice. She dedicates her time and talent to all her students to enrich their musical backgrounds and develop their sense of self through the power of music, to make the world a more beautiful place.

UMass Boston News: UMass Boston Orchestra concert includes world premiere work by UMass Boston’s Chaerin Kim
Interview with Bill Doncaster | October 29, 2018

“There’s a certain way to give melody to certain instruments that blend together to create a certain mood.”

The November 16 concert of UMass Boston Orchestra concert will feature a world premiere of Rendezvous by Chaerin Kim, an internationally acclaimed harpist and pianist, and member of the UMass Boston music faculty. Originally composed for a film project, Kim says, it centers on a man and woman who fall in love, believing each other to be past lovers.

“I think it’s delightful to work with the UMass Boston Orchestra where I work,” said Kim. “I believe performers show who they are through the performance. I like to talk to people, but I also like to communicate through music.”

Kim has scored 92 versions of Rendezvous, including versions for orchestra, harp, piano, and a versions with lyrics already translated into 80 languages. Though originally composed for a film project, Kim anticipates it being used next year in a Korean television drama. A love story, it centers on a man and a woman who fall in love with “reflections” of past lovers. Kim’s composition begins with a mournful theme in A minor, and modulates to an A major, representing the mirror image of past and present lovers, and of sadness towards a happy ending.

“The orchestra version for me is very special,” Kim says. “This song has lyrics, but there’s a certain way to give melody to certain instruments that blend together to create a certain mood. So when listeners hear it,they shouldn’t feel like ‘this is classical music’, but movie music, with a story line.”

Kim began her musical studies at age 6 and has performed on stages throughout the world, including Boston Symphony Hall, Tanglewood with conductor James Levine, and Carnegie Hall. She teaches piano, harp and keyboard at UMass Boston, as well as music classes at Eastern Nazarene College, and harp at Harvard University. She’s won numerous awards and competitions, including the Tanglewood Music Fellow Soloist Competition, Best Performance in Russian Music at the International Harp Competition in Moscow, the Julia Leney Harp Prize in London, the Korean Walgan Music Competition and the Korean Students’ Newspaper Competition. She received her DMA from Boston University, her MA from Yale University, PG diploma from the Royal Academy of Music in London, and her BA from Ewha University in Korea.

Each of the composers featured on this evening’s program share a commonality in their multi-faceted musicianship. Known as the “last great figure of the tradition of Russian Romanticism,” Sergey Rachmaninoff was a leading piano virtuoso, composer, and conductor at the turn of the century until his death in 1943. In 1918, Leonard Bernstein was born in Lawrence Massachusetts. The world-renowned composer, conductor, author, musician and pianist, was one of the first American composers born and educated in the United States.

Interview with the Board Director of the World Harp Congress, 2011

MG: Which would be your observations regarding the differences in teaching technique in the various countries you have had contact with?
Could you explain the strongest aspects of these techniques and their differences?

CK: I would not really compare in words what is good or bad, or which countries education system is better or not, since it all depends on individual students. I think there are differences, though! My previous teachers were all educated in different countries, such as the US, UK, Germany, France, Russia and Korea, and I experienced their different teaching styles. I found this interesting.

I enjoyed each teacher’s style since it was exciting to see all the differences. It also gave me a broad view of music in general – not just looking at the isolated harp field. In addition, when I hear students from different countries, I notice how their playing is different style-wise. I find there are some common languages and tendencies in those students who are from the same country.

Of course, it most likely depends on their personal education level. There are three important default aspects and qualities I would like to state as necessary to become a wonderful musician.

One: With whom they studied when they were very young;

Two: How talented they are, or: how good their ear is in order to help them produce a good tone, having good tempo and technique, and their own philosophy on how to present their musical interpretation to audiences;

Three: The level of support they get from parents and friends.

Also in my vocabulary, talent could be “how much effort a person can put in his or her instrument.” The focused students are the ones who practice more, I would count that is another kind of talent.

MG: What is your own goal now, teaching undergraduate students at Harvard?

CK: Harvard’s Music Department is more focused in the academic area. However, I teach the undergraduate students through the Office of Arts Program. It is wonderful to see how talented they can be in many areas even though they are not majors in music.

My own goal is to provide the student a wide view for understanding the music itself. At the same time, I train them to focus on the music while they perform. Really, you produce the sound to the extent to what you want and what you think. Audiences can perceive this, and that is why it is so important to give all you can with your own interpretation.

MG: How is your relation to modern composers?

CK: I love to work with composers. I am very interested in composition. I actually wanted to double major in harp and composition while I was doing my doctorate, and still carry my passion for composition! My first inspiration was my previous teacher Skaila Kanga, who is considered one of the most wonderful harpists and harp teacher. Sometimes, she asked me to compose, and I would bring some pieces to my lesson. It was her who introduced me to this new world: how to see the new and creative side of the harp playing, working with composers, and being a composer myself. Her hobby is composition, so it was very natural for me to share my composition interest with her.

Composers are full of wonderful, creative ideas, and I like helping them. Most composers do not have a real chance to work with a harpist, and they are shy about asking for it. I like showing them everything about my favorite instrument, and it brings me joy to see how many other ideas they can come up with after I helped them.

In 2007, I helped Ivana Lisak with her harp concerto, which was written for me. I felt so honored to play her composition and I love the piece. As a harpist or any musician, to get a concerto for oneself is a lifetime thing. It does not happen often, so I was completely thrilled.

MG: How do you feel about the harp being an instrument with so much 19th Century repertoire?

CK: I like 19th Century pieces. In fact, I like pieces from all the different periods of music history. You can cry listening to Bach’s Chaconne, you can also cry listening to Mahler’s 5th Symphony Adagietto. Each different period of time has its own charm. I just feel the need of more contemporary pieces so we harpists can have a wider repertoire.

MG: Do you think that the new 20th Century compositions for harp are meaningful?

CK: I believe each piece has its own language and character. Some people might like certain piece, some others might not. We cannot blame anybody for not liking the same thing.

MG: Do you think that the new compositions for harp written in the 20th and 21th Century will be played as much as the 19th Century ones?

CK: You never know. I can’t predict things, since only God knows what will happen tomorrow!

MG: What is it that you like the most from a composer you are working with?

CK: I like stylish composers!

THE COLORS OF MUSIC

Article and Interview with Chaerin Kim / 2010 Hingham Newspaper

This article, whose author agreed to share this post with the blog, is called “The Colors of Music”. It was published in 2010 at Hingham Newspaper in MA, U.S.A.

I include it as a wonderful way to learn from her experience as a well trained musician in piano, composition and harp and for the curiosity I have regarding how music is learnt, practiced and shared in other faraway parts of the world like what Asia is to Latin America, as well as her experience in Europe and USA. I quote her:

“After listening to many performances by musicians from all over the world, I discovered that the only performers who captured my heart were not necessarily those with the best technique, but those players who had various “colors” in their playing. By “colors” I mean the quality, which evokes emotion and imagination, and allows you to visualize what the performers are saying through their music. You know, to become a truly wonderful musician, you need to have “colors” in your playing.

“Growing up in Korea, I was lucky to study music on many different instruments from many teachers who were trained in Korea, Russia, U.S., U.K., Germany and France. I started when I was 6. I took piano, violin, cello and voice lessons until I was 18. In fact, I double majored in piano and cello. I saw the harp when I was 18, and the instrument honestly took my heart. Once I fell in love with the harp, I talked to my parents, and they kindly let me change instruments.

“To me, the harp is a beautiful and charming instrument that often gives people comfort. And, it has many “colors” in it. The harp represents love, peace, sensitivity, charm, sorrow, joy, and so many other feelings in different colors.

“I love teaching, and find it is such a giving thing. To share with other people what I have enjoyed for more than 27 years makes me very happy and gives me a good reason to be part of this world. I try to teach my beginning and intermediate students very solid basic concepts, so they can draw on these later.

“I believe musicianship is important, but you also need proper technique and good and stable tempo from your heart to be able to present your musicianship and artistry. I try to teach my advanced students other aspects, so they can go beyond basic skills, reach another level, and bring color to their playing. It’s important to convey your thoughts, experiences in life and philosophy through your music.

“I like to encourage people of all ages to continue on with their music education, and I don’t mean just on the harp, but with other music opportunities. Music is not just about giving, but also feeling you are getting a lot more than you give. Even though I am a teacher, I learn a lot from my beginning students, who are passionate and eager to learn, respect and love the music. I let them know it’s all about color and imagination.”