Pianist Bokyung Lee – The Journey of “Banquet on the keyboard” with a touch of East and West flavor
Interview by Minh Trang for Hanoi Grapevine
Photos by Phan Dan
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In February 2025, in both Hanoi and Ho Chi Minh City, the Piano Recital “Banquet on the Keyboard II with a touch of French flavor” by pianist Bokyung Lee is an accompanying event to the Vietnam International Piano Competition & Festival (VIPCF). With a new model advised and built by a team of international piano pianists and professors, and the slogan “A United Stage” of VIPCF, the Piano Recital “Banquet on the Keyboard II with a touch of French flavor” promises to be a special event not only for the contestants of VIPCF 2025 but also an opportunity to experience and enjoy a valuable and professional music event for audiences who love classical music, while connecting the classical music community in Vietnam and abroad.
Having left a deep impression with two emotional performances featuring a rich feast with “flavors” of Western classical music and Vietnamese folk tunes in the first recital of “Banquet on the Keyboard”, the piano recital “Banquet on the Keys II with a touch of French flavor” by pianist Bokyung Lee continues to bring a rich, solemn, and elaborate “feast” with classic classical works that have a strong vitality and become timeless symbols in the world’s music treasure. Let’s join in a conversation with the pianist Bokyung Lee concerning her second time back with “Banquet on the Keyboard II with a touch of French flavor” as well as her sharing the memorable time she had in Vietnam participating in the “Khăn Ấm Cho Em” program.
In your return to Vietnam this February for the two piano recital events, “Banquet on the Keyboard II with a touch of French flavor” in Hanoi and Ho Chi Minh City, could you elaborate on the inspiration behind revisiting the “Banquet on the Keyboard” series with a new theme, “A touch of French flavor”?
It is the second invitation to the table filled with authentic classical piano repertoire that I and Hanoi Grapevine, and our sponsors together prepared for classical music lovers in Vietnam. The subtitle “With a Touch of French Flavor” is added as the program includes one relatively lighter work by Debussy, the French composer, compare to the Beethoven and Chopin. The Suite Bergamasque by Debussy contains the widely known “Claire de Lune.” The Prelude and two other court dances also charming works. I hope many classical music lovers come and enjoy these repertoire at the concert.
“Banquet on the Keyboard” has been described as a rich and meticulously crafted musical banquet of classical masterpieces. For this year’s feast, what motivated your selection of works by Debussy (Suite Bergamasque, 1890-1905), Beethoven (Piano Sonata No. 8 Op. 13 “Pathétique,” 1798-1799), and Chopin (Four Scherzi, 1833-43)?
About Beethoven and Chopin, it is my personal journey. Many pianists aspire to stage all piano sonatas by Beethoven, so I too, in the process of it. Chopin is actually chosen during my years in Hanoi. My interest was transferred from Schubert to Chopin in the course of teaching many Chopins. My first solo recital in Hanoi in 2020 included four Impromptus by Chopin. Then, there’s the one last year including four Ballades. This year I included four Scherzi. All are such essential for aspiring pianists and beautiful for listeners.
The reason I chose Suite Bergamasque is that I, many times, am thinking of Vietnam here in America, the years I spent in Vietnam. I think I can say I miss my life in Hanoi before. For some reason ‘Claire de Lune’ reminds me of rain(even though it sings about the moon), bringing back the memories of rainy days in Hanoi, to me, that piece is a moist work. This piece linked to Hanoi to me.(I don’t know why..)
The program for “Banquet on the Keyboard II with a touch of French flavor” features iconic works of enduring significance in the global classical music repertoire. What unique insights or interpretations do you hope to bring to these pieces in your performances? Did you encounter any particular challenges, either technical or expressive, in preparing these works?
There are many technical difficulties in all of them. To go deeper in technical aspects would be a long paper. For now I have another issue more urgent than the techniques, namely the matter of keeping energy through the whole event and staying focused, as I am getting aged thus always trying to get used to my new status. So, in everyday life I try to eat well, sleep well and exercise regularly.
Another issue I always feel challenged is how to make it sound alive, how to reveal the raw emotions of Beethoven and Chopin, how to make the music speak directly to the audience. These are always the most difficult matters for me.
“Banquet on the Keyboard II” is a companion event to the Vietnam International Piano Competition & Festival (VIPCF), which aims to become a leading piano competition and musical event in Vietnam. As a performing artist and pedagogue, what are your thoughts about VIPCF? What advice or encouragement would you offer to the contestants participating in the VIPCF?
I express my sincere congratulation to the VIPCF. Aspiring pianists always seek such venues to show and test themselves. Just simply for piano lovers, too, it is a great chance to give some motivation to themselves because by participating in these events you can achieve a sense of accomplishment. Therefore, I would like to advise many piano students to focus more on the “festival” part than the “competition” part. You prepare this public performance to congratulate yourself whatever the result comes. In that respect I hope the event overall can create a lively festival atmosphere throughout the events.
In addition to your two piano recitals, “Banquet on the Keyboard II with a touch of French flavor,” you also participate in the Talk “Your VIPCF Journey: Deriving Inspiration from Classical Works”. What key themes or insights do you hope to share with aspiring piano students and classical music aficionados in Vietnam during this session?
The key theme of the talk would be on Chopin. His life, character, works, technique, along with the talks about preparation of the public performance based on my personal experience. But, not sticking to these subjects I rather like to be open to any subject for participants. Questions are welcome!
Looking back on your time in Vietnam, and your contributions to events such as the annual “Khăn ấm cho em” concerts and the “Banquet on the Keyboard” series, what accomplishments or experiences do you find most personally fulfilling and memorable?
To make great friends and many acquaintances. I’m grateful to all the staffs of Hanoi Grapevine and Khăn Ẩm Cho Em. If we use a battle metaphor, they are exactly my fellow soldiers. To host a solo recital is never easy business.
Also I am happy that I can meet the audience. Fundamentally grateful to people who make time to come and share this event, this culture. By the support from them this culture can survive and continue. Truly this is the matter of what culture we want to keep and support. I support that we, human beings, shall perform the piano, an instrument. (Sooner than we think more AI or humanoids would play the musical instruments) And, I support this live performance culture (rather than enjoying it through the screen and speakers).
So, please come if your thoughts are the same as mine!
About pianist Bokyung Lee
Pianist BoKyung Lee graduated from Seoul Arts High School in Korea and received Bachelor of Music and Master of Music degrees from Kyungwon University (presently, Gachon University). Continuing her doctoral study at the University of Oregon, Dr. Lee was awarded a “Graduate Teaching Fellowship in Collaborative Piano and Piano Pedagogy” with full scholarship. She completed her Doctor of Musical Arts degree in 2009 with the highest score in the keyboard performance area (2009, Lecture Document Thesis: “Franz Liszt’s Piano Transcriptions of Lieder by Schubert, Schumann and Liszt – A Performer’s Guide”), with the supporting area of Piano Pedagogy.
BoKyung Lee was a faculty member at Kangwon National University (2011-2014) and Gachon University (2011-2016) in Korea, teaching applied piano lessons, piano pedagogy, and piano literature classes. Having recently moved back to Eugene, OR, she is continuing her active career of teaching, performing and serving as a jury member of national/international competitions. An artist with a keen interest in elementary education, during her years living in Hanoi she passionately supported the annual grand concert by Khan Am Cho Em (KACE – translated as ‘a warm scarf for children’), which raised funds for constructing school buildings in less developed areas of Northern Vietnam.
In March 2024, in Hanoi and Ho Chi Minh City, the piano recital event “Banquet on the keyboard” by pianist Bokyung Lee was a fundraising event for the 5th anniversary of Hanoi Grapevine’s Finest, with the Ceremony honoring contemporary art activities in Vietnam, organized and selected by Hanoi Grapevine and the audience community, along with many other satellite activities. With its return this year, “Banquet on the Keyboard II with a touch of French flavor” is an accompanying event to the Vietnam International Piano Competition & Festival (VIPCF), continuing to bring audiences the opportunity to experience and enjoy valuable and professional music events.
