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TOPCD-130

 

¼®¾ç¿¡ ¹æȲÇϸç

Embarking on a Journey at Sunset 

    

01. ´Ï³ª³ë(3´ëÀÇ °¡¾ß±ÝÀ» À§ÇÏ¿©, 2006³â ÀÛ°î) 04:09

Ninano (for 3 kayageums, 2006)

ÀÌÇØÁ¤, 25Çö±Ý 1 / À±¿µ¾Æ, 25Çö±Ý 2 / ±èÀºÁ¤, 25Çö±Ý 3

 

02. »÷ÇÁ¶ó¸®¶û(4´ëÀÇ °¡¾ß±ÝÀ» À§ÇÏ¿©, 2008³â ÀÛ°î) 06:06

SanFrArirang (for 4 kayageums, 2008)

ÀÌÇØÁ¤, °¡¾ß±Ý 1(»êÁ¶°¡¾ß±Ý) / ±èÀºÁ¤, °¡¾ß±Ý 2(»êÁ¶°¡¾ß±Ý)  / À±¿µ¾Æ, °¡¾ß±Ý 3(25Çö±Ý) / Á¶°æ¼±, °¡¾ß±Ý 4(25Çö±Ý)

 

03. ¼®¾ç¿¡ ¹æȲÇϸç(4´ëÀÇ °¡¾ß±ÝÀ» À§ÇÏ¿©, 2008³â ÀÛ°î) 10:18

Embarking on a Journey at Sunset (for 4 kayageums, 2008)

¼ÛÁ¤¹Î, °¡¾ß±Ý 1(»êÁ¶°¡¾ß±Ý) / Á¶¼öÇö, °¡¾ß±Ý 2(»êÁ¶°¡¾ß±Ý) / Áø³ªÁ¤, °¡¾ß±Ý 3(25Çö±Ý)

Ȳ¼±¿µ, °¡¾ß±Ý 4(25Çö±Ý)

 

04. ÇǾÆ(ÇǸ®¿Í ÇǾƳ븦 À§ÇÏ¿©, 2007³â ÀÛ°î) 11:41

PIA (for piri and piano, 2007)

¹ÚÄ¡¿Ï, ÇǸ® / Å丶½º ½¶Ã÷, ÇǾƳë

 

05. Ç༱Áö¸¦ ¸ð¸£´Â ¹Ù¶÷ó·³(3´ëÀÇ °¡¾ß±ÝÀ» À§ÇÏ¿©, 1999³â ÀÛ°î) 18:18

The Wind Has No Destination (for 3 kayageums, 1999)

¹Ú°æ¼Ò, °¡¾ß±Ý 1(»êÁ¶°¡¾ß±Ý) / ¹ÎÇýÀÎ, °¡¾ß±Ý 2(»êÁ¶°¡¾ß±Ý) / ¹Ú¼³Çö, °¡¾ß±Ý 3(ÀúÀ½°¡¾ß±Ý)

 

06. ÇѹãÁß, ±Í½ÅµéÀÇ Çà·Ä(6´ëÀÇ º£À̽º °íÅ並 À§ÇÏ¿©, 2008³â ÀÛ°î)  11:59

Night Procession of the Hundred Demons (for 6 bass kotos, 2008)

¼î²¿ È÷Ä«°Ô & °¡³ë²¿ ´Ï½Ã, º£À̽º °íÅä 1 / ·ù²¿ ¹ÌÁîŸ´Ï & µµ¸ð²¿ °¡³×´Ù, º£À̽º °íÅä 2

³ë¸®²¿ Ã÷º¸ÀÌ & ¹ÌÄ¡¿¡ °í¹Ù¾ß½Ã, º£À̽º °íÅä 3

 

¡á À½¾Ç¿¡ °üÇÑ ¸î ¸¶µð


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¿ì¸®³ª¶ó¿¡¼­µµ ÇØ¿Ü¿¡¼­µµ, À½¾ÇÇÐÀÚµéÀ̳ª Æò·Ð°¡µé ±×¸®°í À½¾Ç°¡µé ÀڽŵéÁ¶Â÷µµ À½¾Ç¿¡ ´ëÇÑ ²¿¸®Ç¥(ÈçÈ÷ ¸»ÇÏ´Â ¡®·¹Å׸£¡¯)¸¦ ºÙÀÌ°ï ÇÑ´Ù. ÀÌ À½¾ÇÀº ¡®¼¼°èÀû¡¯Àΰ¡? ÀÌ À½¾ÇÀº ÃæºÐÈ÷ ¡®ÀüÅëÀû¡¯Àΰ¡? ÀÌ À½¾ÇÀº µ¿¼­¾çÀÇ ¡®À¶ÇÕ¡¯Àΰ¡?(¡®Ç»Àü±¹¾Ç¡¯À̶ó´Â ¿ë¾î¸¦ ¸¹ÀÌ µè´Â´Ù.) ³ª´Â ÀÌ·¯ÇÑ Áú¹®µé¿¡ ´ëÇÑ »ý°¢À» ÇÏÁö ¾Ê´Â´Ù. ÀÌ ÀÛÇ°ÀÌ ÀåÂ÷ ¾î´À ºÎ¹®(Ä«Å×°í¸®)¿¡ ¼ÓÇÒ´ÂÁö¿¡ ´ëÇÑ »ý°¢Àº ÀüÇô ÇÏÁö ¾Ê´Â ´ë½Å, °¢°¢ ÇϳªÀÇ ÀÛÇ°À» À¯ÀϹ«ÀÌ(êæìéÙíì£)ÇÑ »óȲÀ¸·Î ¿©±ä´Ù. ÀÌ·¸°Ô ÀÛ¾÷À» ÇÏ´Ùº¸¸é ³ª´Â ÀÚÁÖ ¿¹»óÇÏÁö ¸øÇÏ¿´´ø »õ·Î¿î ±æ·Î µé¾î¼­°ï ÇÑ´Ù. ¿¹¸¦ µéÀÚ¸é 25Çö±ÝÀ» À§ÇÑ ÀÛÇ°À» óÀ½ ½èÀ» Àû¿¡ ³ª´Â ¼­¾çÀ½°è¸¦ ȸÇÇÇÏ¿´¾ú´Âµ¥, ÀÛ¾÷À» °ÅµìÇϸ鼭 ƯÁ¤À½°è ¾È¿¡¼­ ¡®¾î¶»°Ô¡¯ À½¾ÇÀ» ¸¸µé¾î³»´Â°¡°¡ À½°èÀÚü¸¸Å­À̳ª ¾Æ´Ï ´õ ³ª¾Æ°¡¼­´Â À½°èÀÚüº¸´Ù ´õ¿í Áß¿äÇÏ´Ù´Â °ÍÀ» ±ú´Ý°Ô µÇ¾ú´Ù.


Áö³­ 2³â µ¿¾È, ³ª´Â °¡¾ß±Ý¾Ó»óºíÀ» À§ÇÑ ÀÛÇ°À» ¼¼ °³ ÀÛ°îÇÏ¿´°í °íÅä¾Ó»óºíÀ» À§ÇÑ ÀÛÇ°À» Çϳª ÀÛ°îÇß´Ù. ¡®Ç༱Áö¸¦ ¸ð¸£´Â ¹Ù¶÷󷳡¯Àº ¿ø·¡ 1999³â¿¡ ÀÛ°îÇß´ø µ¶ÁÖ°îÀε¥, °¡¾ß±Ý¾Ó»óºí¿¡ ÀÇÇØ ¿¬ÁֵǾî¿Ô´Ù. À۳⿡ ÀÛ°îÇß´ø ¡®ÇǾơ¯¿Í ´õºÒ¾î, ÀÌ À½¹ÝÀÌ Å¾´Ù.


  ³ª  È¿  ½Å 

2008³â 10¿ù

 

¡á A Note on the Music


A kayageum ensemble is something new, and so it¡¯s somewhat unusual that four pieces on this cd were written for such an ensemble. One of the other pieces is for an ensemble of kotos, a grouping that has existed in Japan for some time. Considering the connections (and dissimilarities) between the kayageum and the koto as instruments, one can hear a certain relation between the koto and kayageum ensemble pieces. And one might say that piri and piano is an unusual combination of instruments - the piece on this cd is certainly one of the very few for this pairing.


I have to admit that I wasn¡¯t much attracted to the idea of a kayageum ensemble until I received a commission to write a piece for three 25-string kayageums. As a composer, part of life is writing music for instruments that other people have chosen for you and so, as in the case of the works on this recording, I¡¯m quite happy when the result is an enjoyable and fruitful collaboration.


Many writers on music, even musicians themselves, both in Korea and abroad, are concerned with labelling music - is it ¡°global¡±? is it ¡°traditional¡± enough? is it a ¡°fusion¡± of east and west? I tend not to think about these questions, thinking instead of each piece as a unique situation, and certainly not about any category into which it might fit. This will often take me in unexpected directions. For example, in writing for 25 string kayageum, I initially tried to avoid western scales, eventually coming to realize that the manner in which the scale is used is just as important, probably even more important, than the scale itself.


In the last two years, I¡¯ve been very busy writing three pieces for kayageum ensembles and one piece for koto ensemble. The Wind Has No Destination was written in 1999; originally a solo kayageum piece, it has now also been played as an ensemble piece by a group of kayageum players. And it was with PIA, written last year, that this cd was born.


Hyo-shin Na

October, 2008 

 

¡á ÀÛÇ°Çؼ³  


01. ´Ï³ª³ë (3´ëÀÇ °¡¾ß±ÝÀ» À§ÇÏ¿©, 2006³â ÀÛ°î)


ÀÌ ÀÛÇ°Àº °æ±â°¡¾ß±Ý¾Ó»óºíÀÌ °æ±â¹Î¿ä¿¡ ¹ÙÅÁÀ» µÎ°í ÀÛ°îÇØ´Þ¶ó´Â À§ÃËÀ» ÇÏ¿©¼­ ÀÛ°îÇÏ¿´´Âµ¥, ³ª´Â ÀÌ ÀÛÇ°¿¡¼­ ¡®ÅÂÆò°¡¡¯ÀÇ ±âº»ÀûÀÎ µÎ °¡Áö ¼º°ÝÀ» ÃÖ´ëÇÑÀ¸·Î ¹ßÀü½ÃÄ×´Ù. ÀÌ µÎ °¡Áö ¼º°ÝÀº (1) µÎ Á¾·ùÀÇ ¼±À² ÁøÇà - 1. °íÀ½¿¡¼­ ÀúÀ½À¸·Î Èĸ£¸£¸£¸£ ¶³¾îÁö´Â ÁøÇà & 2. ¸Ó¹µ¸Ó¹µ - ³»·Á°¥ µí... ¿Ã¶ó°¥ µí... ¸Á¼³À̸ç Áß°£À½¿ª¿¡¼­ ¸Ó¹«´Â ÁøÇà (2) ÀýÁ¦Çϸ鼭 ³»¸éÀ» µé¿©´Ùº¸´Â ´ë½Å ¹Ù±ùÀ¸·Î ¹ß»êÇÏ´Â ¼ºÇâÀÌ´Ù.


³ª´Â 25°³ÀÇ ÁÙÀ» °í¸¦ Àû¿¡ µÎ °¡Áö ½Ãµµ¸¦ ÇÏ¿´´Ù - (1) 2°³ ÀÌ»óÀÇ ÁÙ¿¡ °°Àº À½³ôÀ̸¦ ÁÖ¾ú°í & (2) Á¡Á¡ ³ô¾ÆÁö´Â Á¾·¡ÀÇ Á¶À²°ú´Â ´Þ¸® ³ô³·ÀÌ°¡ µé¾¦³¯¾¦ÇÑ Áö±×Àç±×½ÄÀÇ Á¶À²À» Çß´Ù. 5°³ÀÇ ÁÙ¿¡ °°Àº À½³ôÀ̸¦ ÁÖ¾ú´õ´Ï 1°³ÀÇ À½³ôÀÌ°¡ 5°³ÀÇ ´Ù¸¥ À½»öÀ¸·Î ž´Ù. ¿Ö³ÄÇϸé 5°³ÀÇ ÁÙÀÇ ±½±â¿Í ±äÀåµµ°¡ ´Ù¸£±â ¶§¹®ÀÌ´Ù. ¼Õ°¡¶ô ³¡ ´ë½Å ¼Õ¹Ù´ÚÀüü¸¦ »ç¿ëÇÏ¿© ³óÇöÇϰųª À½³ôÀ̸¦ º¯È­½ÃÅ°¸é 1°³ÀÇ À½³ôÀÌ´Â 5°³ÀÇ À½³ôÀÌ·Î º¯È­ÇϵÇ, ±× º¯È­ÇÏ´Â Á¤µµ´Â ¸Å¿ì ¹Ì¼¼ÇÏ¿© °°Àº À½³ôÀ̶ó´Â ¿µ¿ªÀ» Å©°Ô ¹þ¾î³ªÁö ¾Ê´Â´Ù. ÀÌ°ÍÀº ¸¶Ä¡ Çسª´Â ³¯ °°Àº Àå¼Ò¿¡¼­ ¸î ½Ã¿¡ ¾î´À ¹æÇâÀ¸·Î ¼­ÀÖ´À³Ä¿¡ µû¶ó¼­ ±×¸²ÀÚÀÇ Å©±â¿Í £À½ÀÇ Á¤µµ°¡ ´Þ¶óÁö´Â °Í°ú °°Àº ÀÌÄ¡ÀÌ´Ù. ´Þ¹«¸®Ã³·³ Èñ¹ÌÇÏ°Ô 5°³ÀÇ À½ÀÌ °ãÄ¡°Ô ÇÏ·Á¸é ¹ý±ÝÀÇ ¿¬ÁÖ¹ý°ú ÇÏÇÁÀÇ ¿¬ÁÖ¹ýÀÌ ¼¯ÀÎ ±×·± »õ·Î¿î ¿¬ÁÖ¹ýÀÌ ÇÊ¿äÇÏ´Ù (³»¸®´©¸£¸ç ÈȾ´Â µíÇÑ).


Â¥ÁõÀº ³»¾î¼­ ¹«¾ù Çϳª...

³î±âµµ Çϸ鼭 »ì¾Æ°¡¼¼...

´Ï³ª³ë... 


ÀÌ ÀÛÇ°Àº °æ±â°¡¾ß±Ý¾Ó»óºí¿¡ ÀÇÇÏ¿© 2006³â 9¿ù 27ÀÏ ¼º³²¾ÆÆ®¼¾ÅÍ¿¡¼­ ÃÊ¿¬µÇ¾ú´Ù.


01. Ninano (for 3 kayageums, 2006)


When I was asked by the Kyunggi Kayageum Ensemble to write a piece for three 25-string kayageums based on folk music from Kyunggi Province in 2006, I became interested in using some of the characteristic tendencies and shapes of the folk song Taepyung-ga, without directly quoting the melody itself. I was struck by three characteristics: a quick descending motion in the melody, a place where the music seemed to become locked into a rather static pattern, and the song¡¯s extroverted, straight-forwardly happy feeling; these characteristics then became the basic elements of Ninano. The lyrics of  Taepyung-ga are something like the following: ¡°Why worry? Let¡¯s just have fun while we¡¯re alive - Ninano!¡±


The 25-string kayageum is a ¡°modernized¡± instrument, tuned to the western scale and designed to play rapid, loud passages and music using western harmonies. I wanted to write music that would retain the ¡°kayageum nature¡± of the instrument and, at the same time, might subvert those ¡°improved¡± characteristics and so began to experiment with different tunings. Two possibilities came immediately to mind - 1) a general plan of tuning every other string to the same pitch, a sort of zig-zag tuning, and 2) tuning a number of adjacent strings, sometimes as many as five, to the same pitch. The latter method has the pleasant advantage of each of the consecutive identical pitches having a different timbre because of the variety of tension and thickness of the strings. I also experimented with a way of producing vibrato using the palm instead of the fingers of the left hand. This made possible surprising sounds of real subtlety and complexity whenever a number of these identically-tuned strings was played simultaneously.


This piece was premiered by the Kyunggi Kayageum Ensemble at the Seongnam Arts Center on September 27, 2006.


02. »÷ÇÁ¶ó¸®¶û (4´ëÀÇ °¡¾ß±ÝÀ» À§ÇÏ¿©, 2008³â ÀÛ°î)


°æ±â°¡¾ß±Ý¾Ó»óºíÀÌ ¾Æ¸®¶û°ú °ü·ÃÀÌ µÈ ÀÛÇ°À» À§ÃËÇÏ¿©¼­ ¾´ ÀÛÇ°ÀÌ´Ù. »÷ÇÁ¶õ½Ã½ºÄÚ¿¡ »ì°í ÀÖ´Â ÀÛ°î°¡ÀÇ ¾Æ¸®¶û, Áï ¡®»÷ÇÁ¶ó¸®¶û¡¯Àº 2008³â 9¿ù 11ÀÏ °æ±â°¡¾ß±Ý¾Ó»óºí¿¡ ÀÇÇÏ¿© ¼º³²¾ÆÆ®¼¾ÅÍ¿¡¼­ ÃÊ¿¬µÇ¾ú´Ù.


02. SanFrArirang (for 4 kayageums, 2008)


In 2008, the Kyunggi Kayageum Ensemble commissioned me to write a short piece based on one of the many versions of the popular Korean folk song Arirang (they left the choice of which version I used to me). SanFrArirang is the composer¡¯s version written in San Francisco.


This piece was premiered by the Kyunggi Kayageum Ensemble at the Seongnam Arts Center on September 11, 2008.

03. ¼®¾ç¿¡ ¹æȲÇϸç (4´ëÀÇ °¡¾ß±ÝÀ» À§ÇÏ¿©, 2008³â ÀÛ°î)


°¡¾ß±Ý¾Ó»óºí »ç°èÀÇ À§ÃËÀ¸·Î ¾´ ¡®¼®¾ç¿¡ ¹æȲÇϸ硯´Â 2008³â 4¿ù 13ÀÏ »÷ÇÁ¶õ½Ã½ºÄÚÀÇ ¿À¿ïµå ÆÛ½ºÆ® Äܼ­Æ® ½Ã¸®Áî¿¡¼­ ÃÊ¿¬µÇ¾ú°í, °ðÀ̾î 4¿ù 16ÀÏ Åػ罺 ¿¡ÀÌ&¿¥ ´ëÇб³¿¡¼­ ³ªÈ¿½ÅÀÇ ÀÛÇ° 6°³·Î ÀÌ·ç¾îÁø À½¾Çȸ¿¡¼­ »ç°è¿¡ ÀÇÇØ ´Ù½Ã ¿¬ÁֵǾú´Ù.


¿ì¸¤ÀÌ °¡¾ß±ÝÀ» ÅÀ´ø ź±Ý´ëÀÇ Àü¼³·ÎºÎÅÍ ¿µ°¨À» ¹Þ¾Æ¼­ ÀÛ°îÇÏ¿´´Ù. 16¼¼±â¿¡ ¹Ú»ó(ÚÓßÔ)Àº ³ë·¡Çϱ⸦...


´©°¡ ±×·Á³¾ ¼ö ÀÖÀ¸·ª,

¼®¾ç¿¡ ¹æȲÇÏ¸ç ¹ÌÄ£ µíÀÌ À¼Á¶¸®°í ÀÖ´Â °ÍÀ».


03. Embarking on a Journey at Sunset (for 4 kayageums, 2008)


I was asked to write a piece for the kayageum ensemble Sagye in 2007, and finished writing Embarking on a Journey at Sunset in 2008. The piece was premiered at Old First Concerts in San Francisco on April 13, 2008; this was followed by a performance at Texas A&M University on April 16, 2008 where a portrait concert of six of the composer¡¯s works was presented.


An old legend about a kayageum player wandering around the Korean countryside with his instrument was the inspiration for the piece. Sang Pak, the 16th Century poet wrote ¡°Who could possibly portray the madness inside that wandering kayageum player at sunset?¡±.


04. ÇÇ¾Æ (ù¨ä² - ÇǸ®¿Í ÇǾƳ븦 À§ÇÏ¿©, 2007³â ÀÛ°î)


Á¦¸ñÀÎ ¡®ÇǾơ¯´Â ÇǸ®¿Í ÇǾƳ뿡¼­ ¿ÔÀ¸¸ç, ÇÇ(ù¨)¿Í ¾Æ(ä²) - Áï, ¡®ÀúÆí°ú ÀÌÆí¡¯À» ¶æÇϱ⵵ ÇÑ´Ù.


ÇǸ®´Â ÀÛÀº ¾Ç±âÀÌ°í À½¿ª°ú À¯µ¿¼º¿¡ Á¦ÇÑÀ» ¹Þ´Â ¾Ç±âÀÌÁö¸¸ ÇϳªÀÇ À½Àº ¸Å¿ì À¯¿¬Çϸç, ¿©·¯ Á¾·ùÀÇ ³óÇöÀÌ °¡´ÉÇÏ°í ±Û¸®»êµµ¿Í ¹ÌºÐÀ½À» ³¾ ¼ö ÀÖ´Ù. ÀÌ¿¡ ¹ÝÇÏ¿© ÇǾƳë´Â ±âµ¿¼º°ú À½¿ªÀº ´ë´ÜÈ÷ Å©Áö¸¸, À½À» Çѹø ³»¸é °íÁ¤µÇ¾î º¯È­°¡ ºÒ°¡´ÉÇÏ´Ù.


ÀÌ µÎ ¾Ç±â´Â ¡®ÀúÆí°ú ÀÌÆí¡¯ ȤÀº ¡®³Ê¿Í ³ª¡¯Ã³·³ ´Ù¸£´Ù. ³ª´Â ÀÌ·¯ÇÑ ´Ù¸¥ Á¡¿¡ ¸Å·ÂÀ» ´À²¼°í, °¢ ¾Ç±âÀÇ ÀÚ¿¬½º·¯¿î ¼º°ÝÀ» ¿°µÎ¿¡ µÎ°í °¢ ¾Ç±â¸¦ À§ÇÑ À½¾ÇÀ» ½è´Ù.


¡®ÇǾơ¯´Â ¹ÚÄ¡¿ÏÀÇ À§ÃËÀ¸·Î ¾²¿©Á³À¸¸ç ¹ÚÄ¡¿Ï(ÇǸ®)°ú Å丶½º ½¶Ã÷(ÇǾƳë)¿¡ ÀÇÇÏ¿© 2007³â 1¿ù 31ÀϺÎÅÍ 2¿ù2ÀϱîÁö Ķ¸®Æ÷´Ï¾ÆÁÖ¸³´ëÇб³(»êŸũ·çÁî), ½ºÅÄÆ÷µå´ëÇб³, »÷ÇÁ¶õ½Ã½ºÄÚÀÇ ¿À¿ïµå ÆÛ½ºÆ® Äܼ­Æ® ½Ã¸®Áî¿¡¼­ ¿­·È´ø 3ȸÀÇ ¹ÚÄ¡¿Ï ÇǸ®µ¶ÁÖȸ¿¡¼­ ÃÊ¿¬µÇ¾ú´Ù.


04. PIA (for piri and piano, 2007)


The title PIA combines the words ¡°piri¡± (Korean bamboo oboe) and ¡°piano¡±. In Korean, ¡°pi¡± and ¡°a¡± means ¡°you and I¡±. Piri is a small instrument, limited in both range and agility. Yet, with the piri, each note is flexible; it can produce many types of vibrato, also glissandi, and micro-tones. In comparison, the piano possesses great range and agility, but a note, once played, is fixed. These two instruments are different as You (PI) and I (A). I was attracted to these differences and wrote each part keeping in mind the nature of that instrument.


PIA was written for Chi-wan Park and was premiered at the University of California at Santa Cruz on January 31, 2007.


05. Ç༱Áö¸¦ ¸ð¸£´Â ¹Ù¶÷ó·³ (3´ëÀÇ °¡¾ß±ÝÀ» À§ÇÏ¿©, 1999³â ÀÛ°î)


¿ø·¡´Â µ¶ÁÖ°îÀ¸·Î ÀÛ°îµÈ ÀÌ ÀÛÇ°À» °¡¾ß±Ý¾Ó»óºí ¾Æ¿ì¶ó°¡ 3´ëÀÇ °¡¾ß±ÝÀ¸·Î ¿¬ÁÖÇÏ¿´´Ù.


¡®Ç༱Áö¸¦ ¸ð¸£´Â ¹Ù¶÷󷳡¯Àº Áîºñ±×´Ï¿¡ÇÁ Çì¾î¹öÆ®ÀÇ ½Ã ¡®¿©Ç࡯°ú ÆòÇàµÇ´Â Á¡À» Áö³æ´Ù. ÀÌ ½Ã´Â 7 ÀåÀ¸·Î ±¸¼ºµÇ¾î Àִµ¥, ±× ù ÀåÀº ¾Æ·¡¿Í °°´Ù.


¿©ÇàÀ» ¶°³ª·Á°Åµç ¿À·§µ¿¾È ¶°³ª½Ã¿À.

¸¶Ä¡ ´«À» °¨°í ´õµë¾î ³ª¾Æ°¡µíÀÌ ±×·¸°Ô ¸ñÀû ¾øÀÌ ¹æȲÀ» ÇϽÿÀ.

Àú °ÅÄ£ ´ëÁö¸¦ ´«À¸·Î¸¸ÀÌ ¾Æ´Ñ ¼ÕÀ¸·Î ¸¸Á®¼­ °æÇèÇϽÿÀ.

±×·¸°Ô ´ç½ÅÀÇ ÇǺΠÀüü·Î ÀÌ ¼¼»óÀ» Á÷¸éÇϽÿÀ.


ÀüÅëÀûÀ¸·Î °¡¾ß±Ý ¿¬ÁÖÀÚ´Â °è¼Ó ¾ÈÁ·À» Á¶±Ý¾¿ ¿òÁ÷¿©¼­ À½ÀÌ º¯È­ÇÏ´Â °ÍÀ» °íÃÄ°¡¸ç ¿¬ÁÖ¸¦ Çϴµ¥ ÀÛ°î°¡´Â ÀÌ ÀÛÇ°¿¡¼­ ¿¬ÁÖÀÚ°¡ ¿¬ÁÖÇÏ´Â µ¿¾È ´Ù½Ã Á¶À²ÇÏ´Â °ÍÀ» ¾ïÁ¦Çϱ⸦ ºÎŹÇÏ¿´´Ù. ±×¸®°í ¾ÈÁ·ÀÇ ¿À¸¥ÂÊ¿¡¼­¸¸ ¶â°Å³ª Åü±â´Â Á¾·¡ÀÇ ¿¬ÁÖ¹ý°ú ´Ù¸£°Ô ÀÌ ÀÛÇ°¿¡¼­´Â ¿¬ÁÖÀÚ°¡ ¾ÈÁ·ÀÇ ¾çÂÊÀ» ´Ù »ç¿ëÇÏ¿© ¿¬ÁÖ¸¦ ÇÑ´Ù.


¡®Ç༱Áö¸¦ ¸ð¸£´Â ¹Ù¶÷󷳡¯Àº °ûÀº¾ÆÀÇ À§ÃËÀ» ¹Þ¾Æ ÀÛ°îÇÏ¿´À¸¸ç, 1999³â 11¿ù¿¡ °ûÀº¾Æ¿¡ ÀÇÇÏ¿© ±¹¸³±¹¾Ç¿ø¿¡¼­ ÃÊ¿¬ÀÌ µÇ¾ú´Ù.


05. The Wind Has No Destination (for 3 kayageums, 1999)


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 originally commissioned for solo kayageum 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.


06 .ÇѹãÁß, ±Í½ÅµéÀÇ Çà·Ä (6´ëÀÇ º£À̽º °íÅ並 À§ÇÏ¿©, 2008³â ÀÛ°î)

 

³ª´Â 2008³â 2¿ù »÷ÇÁ¶õ½Ã½ºÄÚ ¾Æ½Ã¾Æ¹Ú¹°°ü¿¡¼­ 18¼¼±â¿¡ ±×·ÁÁø ¡®ÇѹãÁß, ±Í½ÅµéÀÇ Çà·Ä¡¯À̶ó´Â Á¦¸ñÀÇ ±×¸²À» º¸¾Ò´Âµ¥, dzºÎÇÑ »ó»ó·ÂÀ» ÅëÇÏ¿© Ç¥ÇöµÈ ¾ß»ý(å¯ßæ)ÀûÀÎ ¼º°Ý¿¡ ¹ÝÇÏ¿´´Ù.


¿À·§µ¿¾È ¾²ÀÓÀ» ¹Þ´ø ¹°°ÇµéÀÌ ´õ ÀÌ»ó »ç¿ëµÇÁö ¾Ê°í ±¸¼®¿¡ ó¹ÚÇô¼­ ÀØÈ÷¸é ±× ¹°°ÇµéÀº ±Í½ÅÀÌ µÇ¾î ÇѹãÁß¿¡ Áý¾ÈÀ» µ¹¾Æ´Ù´Ñ´Ù´Â ÀϺ»ÀÇ Àü¼³ÀÌ ÀÖ´Ù.


º®¿¡ ±â´ë¾î ¹º°¡¸¦ ¿À¹°¿À¹° ¸Ô°í ÀÖ´Â ³ì½¼ °¡À§±Í½Å... 

ºøÀÚ·ç±Í½Å... 

¸ù´ç¿¬ÇʱͽÅ... 

°©Àڱ⠹ú¶± ÀϾ¼­ »ì»ì ±¼·¯°¡´Â ÀÌ ºüÁø Á¢½Ã±Í½Å µî...


ÇѹãÁß¿¡ ±× ±Í½ÅµéÀÇ ÇàÂ÷¸¦ »ó»óÇÏ¸ç ¾´ ÀÛÇ°ÀÌ´Ù. ³» »ó»óÀÇ ¼¼°è¿¡ - ¸öÀº ¾ø°í ¸Ó¸®¸¸ ÀÖ´Â ±× ¾î¶² Á¸Àç´Â ²ÉÇâ±â¸¦ ¸ÃÀ¸¸ç ȲȦ°æ(üÈûíÌÑ)¿¡ ºüÁ® ÀÖ¾ú´Ù.


ÀÌ ÀÛÇ°Àº Á©·¯¹ÙÇÏÀç´ÜÀÇ Áö¿øÀ» ¹Þ¾Æ ¼î²¿ È÷Ä«°Ô°¡ À§ÃËÇÏ¿´°í È÷Ä«°Ô¿¡°Ô ÇåÁ¤µÇ¾ú´Ù. 2008³â 9¿ù 19ÀÏ ¹öŬ¸®¿¡¼­ °íÅä¾Ó»óºí ¶õŸ³ª¿¡ ÀÇÇØ ÃÊ¿¬µÇ¾ú´Ù.


06. Night Procession of the Hundred Demons (for 6 bass kotos, 2008)


In February of 2008, at the Asian Art Museum of San Francisco, I saw an 18th century scroll called Night Procession of the Hundred Demons (Hyakki yako) by the Japanese painter Toriyama Sekien. I was struck by the wildness of this highly imaginative work and was reminded of some lines from Shakespeare¡¯s Macbeth:


Come, seeling night,

Scarf up the tender eye of pitiful day,

And with thy bloody and invisible hand

Cancel and tear to pieces that great bond

Which keeps me pale! Light thickens, and the crow

Makes wing to th¡¯rooky wood.

Good things of day begin to droop and drowse,

While night¡¯s black agents to their preys do rouse.

Thou marvell¡¯st at my words. But hold thee still.

Things bad begun make strong themselves by ill.


The scroll, Shakespeare¡¯s words, and Shoko Hikage¡¯s koto playing became the source of my imagining this piece.

 

¡á ÀÛ°î°¡ / ¿¬ÁÖÀÚ ¼Ò°³


- ³ªÈ¿½Å (ÀÛ°î°¡)


Çѱ¹¿¡¼­ ÇǾƳë¿Í ÀÛ°îÀ» °øºÎÇÑ ÈÄ µµ¹ÌÇÑ ³ªÈ¿½ÅÀº 1983³âºÎÅÍ ¸ÇÇØÆ°À½´ë(¼®»ç)¿Í º¸¿ï´õ¿¡ ÀÖ´Â Äݷζ󵵴ëÇÐ(¹Ú»ç)¿¡¼­ °øºÎÇÑ ÈÄ, 1988³â »÷ÇÁ¶õ½Ã½ºÄÚ·Î ÀÌÁÖÇÏ¿´´Ù. ¹Ì±¹¿¡¼­ ±×³à´Â ÄÉÀÌÁö(Cage), ½¦ÇÁ½ºÅ°(Rzewski), ¿ïÇÁ(Wolff), ±×¸®°í ´ÙÄ«ÇϽÃ(Takahashi)¸¦ ¸¸³µ°í, ³½Ä³·Î¿ì(Nancarrow)ÀÇ À½¾ÇÀ» ¾Ë°Ô µÇ¾ú´Ù. µ¿½Ã¿¡ ±×³à´Â Çѱ¹ÀüÅëÀ½¾ÇÀ» µè°í ¹è¿ì±â À§ÇÏ¿© Çѱ¹À» Àç¹æ¹®ÇØ¿À°í ÀÖÀ¸¸ç, µ¿¾çÀÇ ´Ù¸¥ Áö¿ªÀÇ À½¾Ç¿¡µµ µÎ·ç °ü½ÉÀ» °®°í ÀÖ´Ù.


³ªÈ¿½ÅÀº ¼­¾ç¾Ç±âµéÀ» À§ÇÑ À½¾Ç°ú Çѱ¹ÀüÅë¾Ç±âµéÀ» À§ÇÑ À½¾Ç, ±×¸®°í ¼­¾ç¾Ç±âµé ¹× µ¿¾ç¾Ç±âµé(Çѱ¹, Áß±¹ ¹× ÀϺ»)°ú ±×°ÍµéÀÇ ¿¬ÁÖ¹æ½ÄµéÀÌ °áÇÕµÈ À½¾ÇÀ» ½á¿Ô´Ù. ±×³àÀÇ Çѱ¹ÀüÅë¾Ç±âµéÀ» À§ÇÑ À½¾ÇÀº Çѱ¹ÀÇ ÀÛ°î°¡µé°ú ¿¬ÁÖÀÚµé »çÀÌ(ƯÈ÷ ÀþÀº ¼¼´ë)¿¡¼­ µ¶Æ¯ÇÏ°Ô Çõ½ÅÀûÀÎ °ÍÀ¸·Î ÀÎÁ¤¹Þ°í ÀÖ´Ù. µ¿¼­¾ç ¾Ç±âµéÀÌ È¥ÇÕµÈ Æí¼ºÀ» À§ÇÑ ±×³àÀÇ À½¾ÇÀº ¼­·Î ´Ù¸¥ ¼Ò¸®¿Í ¾ÆÀ̵ð¾îÀÇ °íÀ¯ÇÔÀ» µÎ°í ŸÇùÇÏÁö ¾Ê´Â´Ù´Â Á¡¿¡¼­ µ¶Æ¯Çϸç; ±×³à´Â µ¿¼­¾çÀÇ ¾Ç±âµéÀÌ À½¾Ç ¼Ó¿¡¼­ »óÈ£ÀÛ¿ëÇÏ°í °øÁ¸Çϸç Ãæµ¹Çϵµ·Ï Çã¶ôÇÏ´Â °ÍÀ» ¼±È£ÇÑ´Ù.


Çѱ¹¿¡¼­ ³ªÈ¿½ÅÀº ´ëÇѹα¹ÀÛ°î»óÀ» µÎ ¹ø ¼ö»óÇÏ¿´°í, ¼­¾ç¿¡¼­´Â ÇϹöµå´ëÇÐÀÇ ÇÁ·ÒÀç´Ü°ú Äí¼ÎºñÃ÷Å°Àç´Ü, ±×¸®°í ¾Ë°í½ÃÀç´Ü µîÀ» À§½ÃÇÏ¿© ¼ö¸¹Àº ´Üü·ÎºÎÅÍ À§ÃËÀ» ¹Þ¾Æ¿Ô´Ù. ¾Ï½ºÅ׸£´ãÀÇ ¹ÙÆ°¿öÅ©¼¥, Çѱ¹ÀÇ Á¤°¡¾Çȸ, ¹Ì±¹ÀÇ »÷ÇÁ¶õ½Ã½ºÄÚÇö´ëÀ½¾Ç´Ü, »êÈ£¼¼Ã¨¹ö¿ÀÄɽºÆ®¶ó, Å©·Î³ë½ºÇö¾Ç»çÁßÁÖ´Ü, ±×¸®°í À̾îÇ÷¹ÀÌ µîÀÇ ´Ù¾çÇÑ ¿¬ÁÖ ´ÜüµéÀÌ ±×³à¿¡°Ô À§ÃËÇÑ À½¾ÇÀ» ¼¼°èÀü¿ª¿¡¼­ ¿¬ÁÖÇØ¿À°í ÀÖ´Ù.


±×³à´Â ÀÌÁß¾ð¾î·Î µÈ ¡®°¡¾ß±Ý¸íÀΠȲº´±â¿ÍÀÇ ´ëÈ­¡¯(µµ¼­ÃâÆÇ Ç®ºû, 2001³â)ÀÇ ÀúÀÚÀ̸ç, ±×³àÀÇ À½¾ÇÀº ÆùÅØ(ÀϺ»), ž¿¹¼ú±âȹ(Çѱ¹), ¼­¿ïÀ½¹Ý(Çѱ¹), ±×¸®°í ´º ¿ùµå ·¹ÄÚµå(¹Ì±¹)¿¡¼­ Ãâ¹ÝµÇ¾úÀ¸¸ç Çѱ¹°ú ¿À½ºÆ®·¹Àϸ®¾Æ¿¡¼­ ÃâÆǵǾú´Ù. 2006³âºÎÅÍ ³ªÈ¿½ÅÀÇ À½¾ÇÀº º§Áö¿òÀÇ ·£Æ®·Î¹ÂÁ÷ »ç¿¡¼­ µ¶Á¡ ÃâÆÇÇÏ°í ÀÖ´Ù.


- °¡¾ß±Ý¾Ó»óºí ¾Æ¿ì¶ó

¹Ú°æ¼Ò, ¹ÎÇýÀÎ, ¹Ú¼³Çö


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- °æ±â°¡¾ß±Ý¾Ó»óºí

ÀÌÇØÁ¤, ±èÀºÁ¤, À±¿µ¾Æ, Á¶°æ¼±


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- °¡¾ß±Ý¾Ó»óºí »ç°è

¼ÛÁ¤¹Î, Á¶¼öÇö, Áø³ªÁ¤, Ȳ¼±¿µ


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- ¹ÚÄ¡¿Ï (ÇǸ®)


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¹Ì±¹ÀÇ ¾¾Æ¼À©Áî, ´º¹ÂÁ÷¿÷½º, ÆÛ½ÃÇÈ Ã¨¹ö ¿ÀÄɽºÆ®¶ó, ¿ìµç Çǽ¬ ¾Ó»óºí, ±×¸®°í ³×´ú¶õµåÀÇ ¾ÆƲ¶ó½º ¾Ó»óºí µî ÇØ¿ÜÀÇ ¿©·¯ ´Üüµé°úÀÇ °øµ¿ÀÛ¾÷À» ÇÏ¿© »÷ÇÁ¶õ½Ã½ºÄÚÀÇ Ç齺Ʈ ±ØÀå,  ½ºÅÄÆ÷µå´ëÇб³, Ķ¸®Æ÷´Ï¾ÆÁÖ¸³´ëÇб³, ¿À¿ïµå ÆÛ½ºÆ® Äܼ­Æ® ½Ã¸®Áî, ±×¸®°í »÷ÇÁ¶õ½Ã½ºÄÚ ¾Æ½Ã¾Æ¹Ú¹°°ü µî ´Ù¼öÀÇ ±¹Á¦¹«´ë¿¡¼­ °ø¿¬Çß´Ù.


- Å丶½º ½¶Ã÷ (ÇǾƳë)


°íÀü(ƯÈ÷ Bach, Beethoven, Schubert, ±×¸®°í Liszt)°ú Çö´ëÀ½¾ÇÀÇ Å¹¿ùÇÑ Çؼ®À¸·Î ¸í¼ºÀ» ¾ò°í ÀÖ´Â Å丶½º ½¶Ã÷´Â ¸Å³â ´º¿åÀÇ Ä«³×±â ¿ÍÀÏ ¸®»çÀÌƲȦ¿¡¼­ÀÇ µ¶ÁÖȸ¸¦ ºñ·ÔÇÏ¿© ½¨º£¸£±× Æ佺Ƽ¹ß(ºñ¿£³ª), ¾Æ´õ¸¶ÀÎÁî Æ佺Ƽ¹ß(»÷ÇÁ¶õ½Ã½ºÄÚ), ¹Ì±¹Çö´ëÀ½¾Ç Æ佺Ƽ¹ß(»õÅ©¶ó¸àÅä) µî ¹«¼öÇÑ ±¹Á¦¹«´ë¿¡¼­ µ¶ÁÖÀÚ·Î È°¾àÇÏ°í ÀÖ´Ù.  Frederic Rzewski, Christian Wolff, Hyo-shin Na, Walter Zimmermann, Boudewijn Buckinx, ±×¸®°í Yuji Takahashi µîÀÇ ÀÛ°î°¡µé¿¡°Ô À§ÃËÇÏ¿© ÃÊ¿¬ÇßÀ¸¸ç À§ÃË°îµé·Î¸¸ ÀÌ·ç¾îÁø À½¹ÝÀ» ¸¸µå´Â ÀÛ¾÷À» ÇØ¿À°í ÀÖ´Ù. ½¶Ã÷´Â 1994³âºÎÅÍ ½ºÅÄÆ÷µå´ëÇб³¿¡¼­ ÈÄÇÐÀ» ¾ç¼ºÇØ¿À°í ÀÖ´Ù.


- °íÅä¾Ó»óºí ·£Å¸³ª

¼î²¿ È÷Ä«°Ô, °¡³ë²¿ ´Ï½Ã, ·ù²¿ ¹ÌÁÏ, µµ¸ð²¿ °¡³×´Ù, ³ë¸®²¿ Ã÷º¸ÀÌ, ¹ÌÄ¡¿¡ °í¹Ù¾ß½Ã


°íÅä¾Ó»óºí ·£Å¸³ª´Â µ¿°æ¿¡¼­ 1979³â ¹ßÁ·µÈ »ç¿ÍÀÌ °íÅäÀ½¾ÇÇб³¿¡¼­ °øºÎÇÑ »÷ÇÁ¶õ½Ã½ºÄÚÀÇ ¼î²¿ È÷Ä«°Ô, ´º¿åÀÇ ·ù²¿ ¹ÌÁÏ, ±×¸®°í ¹æÄÛÀÇ ³ë¸®²¿ Ã÷º¸ÀÌ µî  3ÀÎÀÇ °íÅäÁÖÀÚ·Î ÀÌ·ç¾îÁ³´Ù. ±×µéÀº ¹Ì±¹, ÀϺ», ŸÀÏ·£µå µî¿¡¼­ ·£Å¸³ª ¿¬ÁÖȸ´Â ¹°·ÐÀÌ°Å´Ï¿Í ¸¹Àº À½¾ÇÀεé°ú °øµ¿ÀÛ¾÷À» ÇØ¿À°í ÀÖ´Ù. ·£Å¸³ª´Â 2008³â 9¿ù¿¡ µ¿°æÀÇ µµ¸ð²¿ °¡³×´Ù¿Í ¹ÌÄ¡¿¡ °í¹Ù¾ß½Ã, ±×¸®°í ¿ÀŬ¶õµåÀÇ °¡³ë²¿ ´Ï½Ã¸¦ ÃÊûÇÏ¿© 6ÀÎÀÇ °íÅä ¿¬ÁÖÀÚµéÀÌ ¹öŬ¸®¿Í »÷ÇÁ¶õ½Ã½ºÄÚ¿¡¼­ °íÅ並 À§ÇÏ¿© ¾²¿©Áø Çö´ë°îµé·Î 2ȸ °ø¿¬À» ÇÏ¿´´Ù. ·£Å¸³ª´Â °íÅä¿Í º£À̽º °íÅä´Â ¹°·ÐÀÌ°í »þ¹Ì¼¾À» ¿¬ÁÖÇϱ⵵ Çϸç ÀüÅë°ú Çö´ë¸¦ ÀÚÀ¯·Ó°Ô ³Ñ³ªµé¸ç È°¹ßÇÑ È°µ¿À» ÇÏ°í ÀÖ´Ù.


01. ´Ï³ª³ë (3´ëÀÇ °¡¾ß±ÝÀ» À§ÇÏ¿©, 2006³â ÀÛ°î)

      Ninano (for 3 kayageums, 2006)


ÀÌÇØÁ¤, 25Çö±Ý 1 / Hae-jeong Lee, 25 string kayageum 1

À±¿µ¾Æ, 25Çö±Ý 2 / Young-ah Yun, 25 string kayageum 2

±èÀºÁ¤, 25Çö±Ý 3 / Eun-jeong Kim, 25 string kayageum 3


02. »÷ÇÁ¶ó¸®¶û (4´ëÀÇ °¡¾ß±ÝÀ» À§ÇÏ¿©, 2008³â ÀÛ°î)

      SanFrArirang (for 4 kayageums, 2008) /


ÀÌÇØÁ¤, °¡¾ß±Ý 1(»êÁ¶°¡¾ß±Ý) / Hae-jeong Lee, kayageum 1 (sanjo kayageum)

±èÀºÁ¤, °¡¾ß±Ý 2(»êÁ¶°¡¾ß±Ý) / Eun-jeong Kim, kayageum 2 (sanjo kayageum)

À±¿µ¾Æ, °¡¾ß±Ý 3(25Çö±Ý) / Young-ah Yun, kayageum 3 (25 string kayageum)

Á¶°æ¼±, °¡¾ß±Ý 4(25Çö±Ý) / Kyung-sun Cho, kayageum 4 (25 string kayageum)


03. ¼®¾ç¿¡ ¹æȲÇϸç(4´ëÀÇ °¡¾ß±ÝÀ» À§ÇÏ¿©, 2008³â ÀÛ°î)

      Embarking on a Journey at Sunset (for 4 kayageums, 2008)


¼ÛÁ¤¹Î, °¡¾ß±Ý 1(»êÁ¶°¡¾ß±Ý) / Jung-Min Song, kayageum 1 (sanjo kayageum)

Á¶¼öÇö, °¡¾ß±Ý 2(»êÁ¶°¡¾ß±Ý) / Soo-Hyun Cho, kayageum 2 (sanjo kayageum)

Áø³ªÁ¤, °¡¾ß±Ý 3(25Çö±Ý) / Na-Jung Jin, kayageum 3 (25 string kayageum)

Ȳ¼±¿µ, °¡¾ß±Ý 4(25Çö±Ý) / Sun-young Hwang, kayageum 4 (25 string kayageum)


04. ÇÇ¾Æ (ÇǸ®¿Í ÇǾƳ븦 À§ÇÏ¿©, 2007³â ÀÛ°î)

     PIA (for piri and piano, 2007)


¹ÚÄ¡¿Ï, ÇǸ® / Chi-wan Park, piri

Å丶½º ½¶Ã÷, ÇǾƳë / Thomas Schultz, piano


05. Ç༱Áö¸¦ ¸ð¸£´Â ¹Ù¶÷ó·³ (3´ëÀÇ °¡¾ß±ÝÀ» À§ÇÏ¿©, 1999³â ÀÛ°î)

      The Wind Has No Destination (for 3 kayageums, 1999)


¹Ú°æ¼Ò, °¡¾ß±Ý 1(»êÁ¶°¡¾ß±Ý) / Kyung so Park, kayageum 1 (sanjo kayageum)

¹ÎÇýÀÎ, °¡¾ß±Ý 2(»êÁ¶°¡¾ß±Ý) / Hye in Min, kayageum 2 (sanjo kayageum)

¹Ú¼³Çö, °¡¾ß±Ý 3(ÀúÀ½°¡¾ß±Ý) / Seol hyun Park, kayageum 3 (bass kayageum) 


06. ÇѹãÁß, ±Í½ÅµéÀÇ Çà·Ä (6´ëÀÇ º£À̽º °íÅ並 À§ÇÏ¿©, 2008³â ÀÛ°î)

      Night Procession of the Hundred Demons (for 6 bass kotos, 2008)


¼î²¿ È÷Ä«°Ô & °¡³ë²¿ ´Ï½Ã, º£À̽º °íÅä 1 / Shoko Hikage & Kanoko Nishi, bass koto 1

·ù²¿ ¹ÌÁîŸ´Ï & µµ¸ð²¿ °¡³×´Ù, º£À̽º °íÅä 2 / Ryuko Mizutani & Tomoko Kaneda, bass koto 2

³ë¸®²¿ Ã÷º¸ÀÌ & ¹ÌÄ¡¿¡ °í¹Ù¾ß½Ã, º£À̽º °íÅä 3 / Noriko Tsuboi & Michie Kobayahi, bass koto 3


  »ç¿ëÈıâ
À§ »óÇ°À» »ç¿ëÇغ¸¼Ì´Ù¸é »ç¿ë¼Ò°¨À» ½á ÁÖ¼¼¿ä!  

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À§ »óÇ°¿¡ ´ëÇÑ ±Ã±ÝÇÑ »çÇ×ÀÌ ÀÖÀ¸½Å ºÐÀº Áú¹®ÇØ ÁÖ¼¼¿ä!  

  ¹è¼Û/±³È¯/¹ÝÇ° 

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