Korean star violinist Bomsori Kim on how K-pop inspires her and why AI can’t replace classical music

What’s special about Prokofiev’s music?
His music has this magical lyricism and unexpected contrast [between movements], like the harmonic changes [the rate at which chords progress in music theory]. In this concerto, the first movement is expressive; it starts with a deep-sounding part by the solo violin that creates a sense of unease. Then, the second movement feels almost like we are walking on clouds. It’s weightless and like a dream. The music is now very delicate. In the third movement, the violin’s sound is like percussion. It’s rhythmic and raw.

All the composers whose music I’ve performed share this genius as storytellers, but Prokofiev’s musical language is unique, even when compared to his contemporaries.

What was your introduction to the violin?
I started with the piano first, at the age of four. My mother was a pianist. Naturally, I learnt how to play from her. We used to go to many classical concerts by her friends, many of whom are great musicians in Korea. I wasn’t particularly interested in music, and I often fell asleep in concerts, until one time, there was this legendary violinist Kyung Wha Chung who came to my hometown [in Daegu] to perform. It was so powerful it moved me to tears. I was very impressed and shocked that this instrument could make such an impact on people. I begged my parents to let me play the violin instead.

What is the value of classical music in contemporary times?
Classical music has such a rich history and has been evolving across cultures and time. I believe that music which can survive [centuries] has a timeless value and this incredible ability to capture the cultures and emotions of [its respective era] and connect people across time and place. It offers something really humanistic, be that the process of composing the piece, or listening to it. As a performer, I feel the deep connection with the orchestra people on stage and also the audience. This experience isn’t so easily replaceable by AI.

Given that K-pop is a dominant industry in the music scene of South Korea, to what extent does it influence you as a classical musician?
It’s interesting how K-pop changes in style and scale of representation. In the past, K-pop was very much something only people in South Korea listened to. Nowadays, it represents a generation worldwide. It has influenced many classical music stars. I listen to K-pop too, and even if I’m from a classical background and K-pop doesn’t influence my interpretation of my music, I admire most K-pop artists. They train from a really young age. Their level of artistry, dedication and attention to detail are inspirational. They’re not just professionals in music but also communication with the audience. They bring a great amount of energy and passion onto the stage. They don’t just sing or dance—they tell a story like we do when we create a full experience for the audience.

What’s next for you?
I want to offer something different to people, musically. Even though I’ve played same repertoires for many times, I’d like to discover fresh interpretations of well-known pieces with the orchestra together. That’s one of the most exciting parts about [classical] music.

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