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¡á Group of Kum-am(Vol. 1)
1. 'Kaya' for four Kayagums (Premiere) (12:21)
Composed by Lee, Donoung
Kayagum: I. Ahn, Seung-hun
II. Yi, Ji-young
III. Kim, Mee-sook
IV. Yoon, Hye-sung
2. 'Hamadan' for Kayagum & Janggu (Premiere) (08:47)
Composed by Hwang, Byung-ki
Kayagum : I. Ahn, Seung-hun, Hong, Mee-na, Yoon, Hye-sung,
Chun, Eun-joo, Park, Jung-mee, Kim, Jin-kyung
II. Yi, Ji-young, Kang, Jin-young, Choi, In-young,
Lee, Jee-yeon, Lim, Eun-jung
Janggu : Kim, Ki-chul
¡á Kayagum sanjo in the style of Kim Byung-ho (33:40)
Janggu: Kim, Ki-chul
3. Jinyangjo (16:57)
4. Jungmori (05:29)
5. Jung-jungmori (01:14)
6. Utmori (01:05)
7. Jajinmori (03:40)
8. Hwimori (01:50)
9. Danmori (03:21)
¡á Program Note
1. 'Kaya' for four Kayagums (Premiere). Composed by Lee, Donoung
I have been recently feeling good to have a chance to listen new works for Kayagum played by the modern improved instrument. However, I often could not help missing the old sounds generated by the original instruments.
The "Kaya" for four Kayagums was composed exclusively for Jeongak (aristocratic music) Kayagum. I had attempted to make sound that was close to traditional one rather than modern. I had excluded the western style of melodic progression but intended to harmonize the sounds through the natural flow in the tune of multi-sounds, wishing this piece would provide ease and comport to today's life which tends to be stressful and complicated. (Written by Lee, Donoung)
2. 'Hamadan' for Kayagum & Janggu (Premiere). Composed by Hwang, Byung-ki
"Hamadan" is a name of the old city of Iran which had been existed in the period of Persia. Hamadan, a solo piece for Kayagum, was inspired by a poem titled Hamadan written by a monk poet called Hyundam. I had attempted to express a faint road which reaches far abyss and kind of feelings about hazy atmosphere full of fog. It is composed of three sections. The rhythmical structure of the first section is jungmori. It is sounded like a sorrow mood but, at the same time, a bit bright pieces come up in the middle of the flow of the melody. Later on, a sort of mysterious melody begins from the second section that leads the rest half of the piece. It ends hwimori which runs into the finale full of tense in the third section. (Written by Hwang, Byung-ki)
3. Kayagum sanjo in the style of Kim Byung-ho. (A Completed Version)
Jinyangjo-Jungmori-Jungjungmori-Utmori-Jajinmori-Hwimori-Danmori
The Kayagum sanjo in the style of Kim Byung-ho, in comparison with other style of sanjo, has shown several very unique features in nong-hyun (vibrating string), sigimse (melodic decoration) and rhythmic organization. For instance, first, a broad sound that is higher than three degree is frequently appeared and a repeated technique is often employed in the rule of vibrating string. Second, in the melodic decoration, the lingering sounds are changed to complex differential sounds. Finally, the rhythmic organization tends to be a great variable one. That is, the first movement, jinyang, has 2 beats, which is very unusual case in comparison with other style of sanjo. Moreover, the third and the fifth movements, jungjungmori and jajinmori, have utmori (a rhythmic patter of drum) that tends to be a versatile format. In short, as described in the above, the Kayagum sanjo in the style of Kim, Byung-ho is characterized by deep vibrating string (plucking), versatile manipulation of melodic progression and a complex rhythmic organization.
The style of Kim Byung-ho's sanjo can be considered as one that it is difficult to be enjoyable by the first contact because it does not gives you usual cheerful mood. However, it is indeed a style of sanjo that is touching human feeling through the highly refined artistry with elegant melody and variable rhythmic structure. Composer's profile
¡á Lee, Donoung :
Professor of Department of Composition, Hanyang University.
Chairman of the Institute of Music, Hanyang University.
¡á Hwang, Byung-ki :
Professor of Department of Korean Music, Ewha Womans University.
Member of the Arts Academy of the Republic of Korea.
Kum-am Kim, Byung-ho and his followers,
¡á ¡ºGroup of Kum-am¡»
Lee, Bo-hyung / President of the Society for Korean Discology
I had attended to a concert held at Ye-ak dang, the National Center for Korean Traditional Performing Arts, in December 8, 2000. It was presented by Group of Kum-am, by which I was very intrigued before the concert. I could soon discover that it was a performance group established to dedicate to the great master for Kayagum Kum-am Kim, Byung-ho (1910-1968). The leader of the Group was Prof. Yang, Yon-sop at Hanyang University who was best disciple of the master Kim.
Although Kim, Byung-ho had been considered as one of the best disciples of the great master Kim, Chang-jo, the father of Kayagum sanjo, and later became a great Kayagum performer himself, he had been unveiled for long time. In my understanding, the aim of the Group of Kum-am was to inherit and diffuse the genuine portrait of the master Kim, Byung-ho, by studying and performing his music. That was the point where I had paid attention to the Group of Kum-am. I believed the first concert of the Group of Kum-am must had been the starting point of the populization of the Kum-am Kim, Byung-ho's unexposed musical world. (By the way, Kum-am is a sobriquet of the master Kim.)
In fact, Kim, Byung-ho was a kind of quiet and unsociable man so we have known him only through his music, not though his personal life. Moreover, the master Kim's musical characteristic had been existed far beyond general audience's understanding as it was firmly constructed by a tendency toward deep and profound human's inner mind. It was not just bright and pleasant sound that were produced by the exact direction on the scores. I consider Kim, Byung-ho was a very important musician in Korean music history and his musical heritage must has been handed down to today's younger generation. In this context, it was very good to see that Group of Kum-am seemed to be well aware of the mission and enough prepared performing it.
Another good thing I had at the concert was that I, interestingly enough, had been able to enjoy several new works for Kayagum. They were 'Kaya for four Kayagums' composed by Lee, Donoung, and 'Hamadan' by Hwang, Byung-ki. Both were premiered by the Group of Kum-am that night. 'Kaya for four Kayagums' of Mr. Lee, Donoung had used the theme of Kaya, the actual name of the ancient kingdom existed until the end of 6th century in Korean history.
According to the composer, it was exclusively written for Jeongak Kayagum (Kayagum for aristocratic music) to close to original sound of Korean's nature at best. I found it was successfully done in describing the original figure of Korean culture, touching the mysterious sphere of the kingdom of Gaya, the place where the Kayagum, 12-stringed zither, was originated.
Hamadan was a new work of Mr. Hwang, Byung-ki who had already written a numerous great works for Kayagum solo. The title of Hamadan came from the old city of Persia. It was great pleasure to me to discover Mr. Hwang had gone through another cultural experiment followed his past works such as Chim hyang-mu and Silk road, through Hamadan. Thanks to the composer's imagination expressed on the Hamadan, I was able to touch and feel a kind of strong scent of the mysterious old Persian culture.
Now, Group of Kum-am came to us again with a CD in six months since last performance at Ye-ak dang. They recorded all the music pieces that they performed at the concert. I am sure this CD will give a light to the master for Kayagum Kim, Byung-ho's authentic musical life. I wish solidarity and prosperity for the Group of the Kum-am.
¡á Kim, Byung-ho (ÐÞäÛ ÑÑܹûÄ)
The master Kim, Byung-ho was born in Young Am-kun, Chulla Nam-do, south-western province of Korea, in 1910. He had begun to learn Kayagum from the age at five under Kim, Chang-jo, the creator of Kayagum sanjo. Kim, Byung-ho was recognized as an excellent performer for pansori (dramatic-epic-narrative), ajaeng ( 9-stringed bow zither) sanjo, and Kayagum byungchang (song with instrumental - Kayagum-accompaniment) as well as Kayagum sanjo.
He had started his professional musical career in 1936 when he joined Changgeuk Jwa (A group of Korean Folk Opera) belonged to Chosun Vocal Institute. He had toured many local cities with Yim, Bang-wol, a legendary pansori singer in the 1930-50'. He had also been a member of Yim, Choon-aeng's female folk opera group (1954) and an instructor at Dong-rae school for artistic entertainer's (1942), Incheon girl's high school (1959) and so on. In his later days, he had devoted himself to teach Kayagum sanjo to young generations at Seoul National University and the Korean music training school attached to the National Classical Music Institute. Since 1961, he had worked for the National Center for Korean Traditional Performing Arts until he died at age of 58 in 1968.
Although Kim, Byung-ho had led short life time, he had successfully achieved his own musical world with his unusual artistic gift and constant endeavor. His brilliant musical heritage has been down today in the name of the Kayagum Sanjo in the Style of Kim Byung-ho.
¡á Group of Kum-am (ÐÞ äÛ üå)
Group of Kum-am was established in 1993 by Prof. Yang, Yon-sop and his disciples. The word of Kum-am which literally means silk-rock, came from the Kayagum master Kim, Byung-ho's nick name. The Group of Kum-am is to inherit and promote the Kum-am Kim, Byung-ho's Kayagum sanjo. Professor Yang, Yon-sop, department of Korean traditional music, Hanyang University, was the best disciple of the master Kim. He is a practical leader of the group consisted of 18 young Kayagum performers, and has made every effort to promote the Kayagum sanjo of the school of Kim Byung-ho. Group of Kum-am had captured public attention when they had given the first regular concert at Ye-ak dang, the National Center for Korean Traditional Performing Arts, in December 8, 2000.
Yang, Yon-sop (Advisor)
Yang, Yon-Sop was born in Hwangju, Hwanghae-do in 1948. He graduated from the Korean music training school attached to the National Classical Music Institute and went on study at Seoul National University. Yang was considered as the best successor of the Kayagum sanjo in the style of Kim Byung-ho. He had met the master Kim, Byung-Ho when his middle school days. He had learned Kayagum sanjo under the master Kim's special care until 1968 when the master Kim had passed away. He was awarded several major national music awards including the KBS Grand Prize for Kukak, in string section in 1985 and Young Chang Music Awards in 1999. He had served on the National Center for Korean Traditional Performing Arts as an orchestra member and researcher. Later on he had been a concert master of the KBS Traditional Music Orchestra. In May 1989, he had given a recital at Ye-Eum Hall in the complete cycle of the six schools of Kayagum sanjo presented by Ye-Eum Foundation. He is currently a professor of Hanyang university. He also holds a vice-president of the Society of Korea Music and Seoul Emsemble, a chamber music group for Korean traditional music. Organization of Kum-am
Advisor: Prof. Yang, Yon-sop, Hanyang University.
President : Ahn, Seung-hun.
Committee Members : Park, Young-mi. Yoon, Jung-rim
Yi, Ji-young. Kim, Mee-sook
Yoon, Hye-sung. Kim, Ki-chul
Members : Kim, Hyun-ho. Hong, Mee-na
Song, Eun-sook. Shin, Eun-hee
Chun, Eun-joo. Kang, Jin-young
Park, Jung-mee. Choi, In-young
Lim, Eun-jung. Lee, Ji-yeon

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