Chiyu (Healing; 치유; 治癒)
for quintet (flute, Bb clarinet, violin, cello, piano)
Performed by Dissolution Ensemble / Premiered by Moscow Contemporary Music Ensemble
Commissioned by the 4th Hangzhou Contemporary Music Festival
Program Notes
The title of the piece, "Chiyu," represents the Korean pronunciation of the word "치유," which translates to "healing" in English. While healing typically conveys the idea of curing diseases, "chiyu" embodies a more psychological, experiential, and humanistic approach. This piece is composed as a response to unexpected and challenging hardships that intrude as unwelcome guests into everyday life, causing deep wounds and feelings of melancholy.
The process of composing the piece itself was aimed at psychological healing, seeking sounds that bring solace and tranquility to the mind, without being constrained by any particular formal structure. Throughout the composition process, I sought to find healing for these emotions, relying on the act of composing itself to seek emotional stability within myself. I aimed to express my emotions delicately and emotionally, drawing upon the unconscious resonance of sounds, without the restraint of rational control. I crafted the music using contemporary musical language, capturing the unique sensations inherent in these sounds with sensitivity and emotion.
Additionally, elements of meditation that brought comfort to me during a brief stay at a hanok (traditional Korean house) called 치유재 (Chiyoujae, literally "Healing Studio") in Seoul's Bukchon area are reflected throughout the composition.
The Arrow and the Song
for soprano and sextet (flute, Bb clarinet, violin, cello, piano, and percussion)
Program Notes
This piece was created for an American classical poem, "The Arrow and the Song" by Henry Wadsworth Longfellow. The theme of this poem implies regarding humans' lives in which whatever a person does or says remains forever, not being in vain in any way whatsoever. He explains that we put so many things in the world and they return to us in either good or hurtful ways, which gives us a meaningful lesson that we must be wise with respect to what we act and say. I feel this poem, without doubt, can apply to quite a lot of situations that happen in our lives. Through this piece I wanted to send my wishes for the world to be more peaceful and beautiful being in harmony.
The Whale
for orchestra: 2[II=picc].2.2[II=Bcl].2[II=cb] – 4.2.3.1 – hp.perc[timp+2] – strings[12.10.8.6.4]
Commissioned and premiered by Korean National Symphony Orchestra
Program Note
This composition delves into the profound issues of climate change and environmental problems, which have become the most significant challenges for the current generation of humanity due to human activities and selfishness. As I began to deeply contemplate these issues, I embarked on a sonic exploration centered around the theme of the suffering of nature's creatures at the hands of humans.
In The Whale, the sounds of whales are depicted in both physical forms and abstract interpretations based on personal imagination. Throughout the composition, the whale sounds are expressed in a multidimensional manner, adapting to various musical contexts. The sonic characteristics and changes in coloration within different sections offer varied perspectives on the sounds of whales.
In the early sections, within a meditative musical concept, the composition seeks to present the diverse sounds and emotions of whales. In the middle to later sections, the piece aims to portray the whales' suffering due to the overwhelming presence of plastic pollution. Ultimately, the composition gently concludes while hinting at the souls of deceased whales and the hope for the future.
Scale
for sinfonietta (17 players): 1[picc].1.1.1.1 – 1.1.1 – hp.pf.perc[2] – strings
Program Notes
The motivation for this work derived from doubt on what contemporary classical music is. This suspicion stemmed from a feeling of resistance against the kind of music that is often filled with the abuse of special and extended playing techniques music, and that contains difficult rhythms and requires a high level of technique to play - which felt to me unappealing, meaningless at that time - and thus, I ended up being eager to find a genuine meaning of music. This reminded me of the musical material, "Scales", which has been the basis of tonal music, thereby encouraging me to explore it.
Scales are the most commonly used materials in all musical genres. I struggled with developing this piece in a contemporary musical language that highlighted the scale without evoking boredom, as it could sound banal and childish. Based merely on the simple material, my piece was created by deriving from various musical factors which play a significant role in completing a musical grace of tonal music, and in the combination of contemporary musical features with them, further makes its own unique features.
Lumaqua
for water and live electronics
Excerpt
Full Video
Program Notes
Lumaqua, combining 'lumen' (light in Latin) and 'aqua', is a work that captures water's ethereal beauty. Opening with the sound of falling water droplets, the piece gradually expands into larger sonic landscapes. The composition contrasts two distinct elements: live water sounds and electronic effects created using a Wacom tablet, where pen movements across x, y, and z axes generate multidimensional sound parameters. These seemingly disparate sound worlds merge naturally throughout the piece. Meditative passages invite listeners to experience the sensation of being submerged, creating moments of underwater contemplation.