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¡á Hyo-shin Na
Blue Yellow River
1. Chung-Ji-Hyang (2000) 16:41
Contemporary Music Ensemble Korea
Chung-seung Kim, taegeum
Chi-wan Park, piri and saenghwang
Jiyoung Yi, peopgeum
February 4, 2001 University of California, Santa Cruz
2. The Wind Has No Destination (1999) 13:45
Jiyoung Yi, kayageum
April 22, 2001 Old First Church in San Francisco
3. Rain Study (1999) 11:46
Thomas Schultz, piano
March 18, 2000 Stanford University
4. The Music (1988) 08:22
Thomas Schultz, piano
Hyo-shin Na, piano
February 14, 1988 University of Colorado, Boulder
5. Blue Yellow River (2000) 18:03
Jiyoung Yi, kayageums
Stephen Harrison, cello
Stan Poplin, double bass
February 4, 2001 University of California, Santa Cruz
¡á Notes on the Music
1. Chung-Ji-Hyang (2000)
for taegeum, piri/saenghwang, and peopgeum
An amalgam of the names of the musicians for whom the piece was written (Chung-seung Kim, Jiyoung Yi, and Hyang-hee Lee of the Contemporary Music Ensemble Korea) provides the title for Chung-Ji-Hyang.
Listening to each other and inspired by each other's playing, the musicians play either in a closely co-ordinated manner (quasi-unison) or independently, without concern for co-ordinating with the others. The composer has left certain details of the music to the players, suggesting that they search for new ways to realize these details without stepping outside the boundaries provided by the techniques of traditional music.
Chung-Ji-Hyang was commissioned by the Contemporary Music Ensemble Korea and first performed by the CMEK at the San Francisco Asian Art Museum in February, 2001.
2. The Wind Has No Destination (1999)
for kayaguem solo
The Wind Has No Destination has parallels with Zbigniew Herbert's poem A Journey. The poem has seven stanzas, the first of which is:
If you set out on a journey let it be long
Wandering that seems to have no aim groping your way blindly
So you learn the roughness of the earth not only with your eyes
But by touch
So you confront the world with your skin
In a traditional setting, the player will frequently re-tune the instrument in the course of the performance, correcting subtle changes of pitch that tend to occur as the bridges shift their position slightly; in this piece the player is asked to refrain from re-tuning during the piece. The player is also asked to pluck the strings on both sides of the bridges whereas the tradition is to pluck only on the right side of the bridges.
The Wind Has No Destination was commissioned by Eunah Kwak and was given its first performance by Ms. Kwak in November, 1999 at the National Center for Korean Traditional Performing Arts in Seoul, Korea.
3. Rain Study (1999)
for solo piano
Much of the material for Rain Study has its origin in Sanyombul, a Korean folk song. The words to Sanyombul state:
The sun that sets will rise again tomorrow
A life that passes will never return
The piece is the second of a series of studies for solo piano that was initiated by Piano Study 1 (1997). These are studies for both pianist and composer; the focus of both works is on the layering of melodies and the superimposition of the pianist's hands. The work was written for Thomas Schultz and was first performed by him in San Francisco, in April 1999. It has also been played by Yuji Takahashi.
4. The Music (1988)
for two pianos
In The Music, the materials used are very limited, and there is no development of these materials. There are three other versions of this piece ; for viola and guitar, for piano four hands, and for chamber orchestra. The Music has been played by many pianists including Yuji Takahashi, Aki Takahashi, and Mark Wait. This version for two pianos was first performed by Thomas Schultz and Hyo-shin Na.
5. Blue Yellow River (2000)
for sanjo kayageum/peopgeum, cello, and double bass
The title and much of the pitch material for Blue Yellow River come from Hwanghacheong (a piece of korean Court music). Hwanghacheong evokes a time so peaceful that even the Yellow River will turn blue. The inspiration for Blue Yellow River came from the composer's re-visit, after 20 years, to Seok-gu-ram (in the old Shilla capital of Kyungju), the site of the much-venerated 1250-year-old statue of Buddha. This statue is known for its unusually tranquil appearance and is the subject of the following poem by the 20th century writer Chee-hwan Yu:
Great Buddha Statue of Seok-gu-ram
My throat tightens
Unbearable weeping
I sit as a piece of stone, eyes closed.
For one thousand years
Faint veins under cold skin
Look at my flowing breath.
Sensing gentle distant breeze
Leaf of east sea lotus
Screaming of crow and magpie
And light on my forehead of the dawn moon.
Who would believe!
To endure this unbearable weeping
I sit as a piece of stone
Solitary lotus position.
Two kayageums are used in the piece: 1) Sanjo kayageum (a smaller instrument most often used in fast music, and virtuoso instrumental music); and 2) Peopgeum (larger, playing mostly slow music and Court music). In Blue Yellow River the composer has occasionally departed from the traditional manner of playing the kayageum. For example, instead of damping each note as playing the next note (as is usual in traditional kayageum music), here the player will, in certain passages, let the notes ring, allowing the sounds to overlap and accumulate. Also, the player is asked to produce non-traditional timbres by plucking the strings in a variety of places, by muting the strings with the hand, and by placing a metal thimble against the strings.
The cellist and bassist play with the bow-hairs greatly loosened, causing constant subtle changes of timbre.
This piece was first performed at the 2000 Other Minds Festival (San Francisco) by Jiyoung Yi, Joan Jeanrenaud, and Richard Worn.
By now, it's common knowledge that most Asian composers of my generation were educated in the ways of western music, not in our own eastern (Korean, Japanese, Chinese, etc.) traditions. I wrote The Music in 1988, after I'd been living in the U. S. for five years. During this time, my "de-education" had begun with my first serious studies of Korean music. I had started to move away from the international (European) new music language and the sounds of western instruments.
Now, more than a decade later, I find that I'm no longer trying to write Korean music; nor am I trying not to write Korean music. When I write something new for traditional instruments, it might not be so "Korean"; but then, isn't this just a continuation of the old Korean music, which never stayed the same for very long in any case? Such dualisms (east/west, yin/yang, tonal/atonal) have their limits...
I'd rather "tend my own garden", as Busoni advised. It's a small garden with no fences.
(notes on the music: Hyo-shin Na)
¡á Hyo-shin Na
As a recipient of the coveted Korean National Composers Prize (1994) and the Asian American Arts Foundation fellowship (2000), Hyo-shin Na has had her music performed world-wide; at festivals and concert series in her native country as well as throughout Europe, North America, Africa and the rest of Asia. Her works have been performed in California (where she currently resides) by the San Francisco Contemporary Music Players, Earplay and the Stanford String Quartet, and have been broadcast on National Public Radio, the BBC, KBS, German Radio and Belgian Radio. Recently, her solo piano music has been performed in San Francisco, New York, Vienna, Berlin and Kyoto by Thomas Schultz, and by Yuji Takahashi in Tokyo, at the Pacific Music Festival in Sapporo, and in Kamakura, and her music for two pianos by Yuji and Aki Takahashi in Tokyo. During the 1998 - 1999 season, the Kronos Quartet commissioned and performed Ms. Na's Song of the Beggars throughout Europe, Africa, Korea and North America.
Ms. Na has recently been awarded commissions by the Fromm Foundation at Harvard to write a piece for the San Francisco Contemporary Music Players (1997), by the National Center for Korean Traditional Performing Arts (2000), New Music Works (1999), Contemporary Music Ensemble Korea (2000), Philharmonia Gaudi Vienna (2000), Citywinds (1998, 2001), Piano Spheres(2001), San Jose Chamber Orchestra(2001), Life and Dream Singers (2001), and Korean kayageum virtuoso Eunah Kwak (1998). She has received awards from ASCAP in 1998, 1999, 2000 and 2001. She was a Djerassi Resident Artist in October, 2000. Ms. Na has lectured on the relationship between her music and traditional Korean music at such varied institutions as Stanford University, the University of California at Santa Cruz, City College of San Francisco, and the National Center for Korean Traditional Performing Arts. She was a resident composer at the March, 2000 concerts of the Other Minds Festival (San Francisco). Her music has been recorded on the Fontec, Top Arts, and Seoul labels and is published in Korea and Australia. She is the author of Conversations with Kayageum Kaster Byung-ki Hwang(Pulbit Press).
Her musical studies were at Ewha University (Seoul, Korea), Manhattan School of Music, and the University of Colorado at Boulder where she received her doctorate.

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