This content was created by The Piano Pod with Yukimi Song. This content was uploaded by The Piano Pod with Yukimi Song. This is a YouTube video titled "#PianoPodRewind When Music Meets Raw Emotions" (published 2025-03-19). The excerpt is a reflective monologue by a single performer about performer–audience communication: the difference between forced/broken communication and the ideal co-creative, nonverbal dialogue that can produce ecstatic, near-comatose moments. The speaker recounts an emotional performance in Sofia, Bulgaria of a Mozart concerto (noting an A major, K. 488) where they nearly cried. Content is introspective and focused on musical performance and emotional connection.
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That is a communication, a communication that is sometimes forced communication. And you end up having, you know, when you are not comfortable with the moment, with the audience, with yourself, and you're having this forced communication with yourself. And the audience can feel like also being forced, like, why am I witnessing a communication that is, you know, a conflict. That can happen, and I know 100% that it has happened to everyone, every single performer. When that communication is a broken conflict, then you're just thinking, okay, when is that second one? I'm done. Then I need to go. And I think it's such a useful moment to have that broken communication with yourself. Because any kind of broken communication is also a seed to plant for a better communication. A learning seed to plant better communication. A communication which is that beautiful communication that happens, luckily, more often than that broken communication. When you are stepping into this beautiful dialogue or a group communication between that audience, the co-creation part of like you, performer, and the composition itself. And it's a moment of epharia, of a nirvana, of that moment when perhaps you don't remember, afterwards. It's like a little coma in a good sense when you are maybe in the skies walking with whatever, you know what I mean? And then when you are back to life, you don't remember what exactly happened. But what you remember is remember that satisfaction of that communication, of that beautiful conversation with that nonverbal communication, that energy, circulation of energy between you, the audience, the work, the partner that you are communicating with, if it is chamber music or an orchestra. And perhaps that's why maybe the concert itself may, may not be memorable in a way. Although I do have, you know, concerts that I remember, you know, one of them, for example, in Bulgaria, in Sofia, probably it's memorable because I really, really got so deep into that feeling of the, the, the work that I got, uh, emotional actually. And I, I was performing Mozart Concerto, uh, in A major in 488, and that second movement I got super, uh, emotional and I, I almost cried while performing. That doesn't happen often.
