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The Ajaeng performed by Yi Tae-baek
¡°The sound of the tension & release¡±

PROGRAMME
* The Pak Jong-seon Ryu Ajaeng Sanjo
ajaeng: Yi Tae-baek/ janggu: Pak Jong-seon
01 Jinyangjo 11:26
02 Jungmori 06:00
03 Jungjungmori 03:00
04 Jajinmori 05:03
05 * Danga ¡®Eohwasesang¡¯  02:18
sori: Yi Yim-rye/ barrel drum: Yi Tae-baek
06 * Section of Mr Shim¡¯s opening eyes from Pansori - SHIMCHEONGGA   04:53
sori: Yi Yim-rye/ barrel drum: Yi Tae-baek
* The Ajaeng, Cheolhyeongeum (= the geomungo with metal strings) - Sanjo-Byeongju
Ensemble: ajaeng: Yi Tae-baek/ cheolhyeongeum: Yu Gyeong-hwa/ janggu: Pak Hwan-yeong
07 Puneun Garak 01:44
08 Jinyangjo 02:23
09 Jungmori  02:39
10 Jungjungmori 03:33
11 Jajinmori 04:57
12 * The Ajaeng, Taepyeongso, Janggu - Sorinoreum 13:20
ajaeng: Yi Tae-baek/ taepyeongso: Pak Jong-seon/ janggu: Kim Deok-soo
Live performance: at the Munhwailbo Hall
Date: Monday 8 February 1999
Profile of performers
Ajaeng/ Yi Tae-baek

He studied Korean music at Chugye Yesul College and music education at Hanyang
University for a Master Degree. He won a number of competitions: the best prize
for Instrumental Part for Gyeongju Silla Munhwajae; the Grand Prix for the MBC
Jeonjudaesaseup Contest; the best prize (the Prime Minister Award) for the 7th
Haenam Contest of Drum Players; the grand prize for (President award) the
Daemyeongo for All-Korea Drum Players.

He performed at the various venues including overseas tour, and they are as follows: appeared at Taiwan Folk Museum, Korea-Japan Classical Music Appreciation (in Tokyo), Concert in Taiwan; Music director for Korean Traditional Music Festival ¡°Pureunmadang of Young Future¡±; Nanjang Concert
(Red Sun Group); Music-director for the Nagoya Korea-Japan Music Festival; composed and performed of music drama ¡°Yeonggo¡±; Gwangju Biennale; ajaeng solo at Berlin Nanjang, Germany; ¡°Gonggam¡± Concert at Seoul Arts Center; Gungnip Changgeukdan Jangmakchanggeuk ¡°Chunhyangjeon¡±; join in Seoul Sirip Gugak Orchestra and Chungang Gugak Orchestra; Charity Concert for UNICEF and broadcast at the NHK-FM, Japan; released CD at Koln Broadcasting, Germany and Solo CD called ¡®Yoseong¡±.

He taught music at universities of Jeonbuk, Jeonnam, Yongin and Chugye Yesul College. He also led ensemble teams such as ¡°Saeullim¡±, the Youth Arts Company as music director and Menari, Folk Music Society as leader and performed as player at Seoul Sirip Gugalk Orchestra and Instrumental Part of Gungnip
Changgeukdan.

He is currently a professor of Korean music, Mokwon University. He completed gaining diplomats for both Jungyomuhyeongmynhwajae no. 5 Pansori Gobeop and no 72 Jindo Ssitgimgut, and a member of Sinawi of the Folk Music Society.

He studied music with Pak Jong-seon for the ajaeng, Kim Deuk-soo for the gobeop and Pak Byeong-cheon for the janggu.
Appearance of the special performers:
Yi Im-rye won the President award for the Pansori part for the 1994 Jeonjudaesaseupnori.

Pak Jong-seon teaches music at Hanyang University and colleges of Chugye Yesul and Seoul Arts. He was Arts directors for both Gungnip Gugakwon and Gungnip Changgeukdan.

Kim Deok-soo completed the course of Taepyeongmu for the Jungyomuhyeongmunhwajae no. 92, and he is currently arts director for Samulnori ¡°Hanullim¡± (Cop.) and professor of Traditional Arts, Korean National Academy for Arts.

Pak Hwan-yeong completed the course of 72 Jindo Ssitgimgut for the Jungyomuhyeongmunhwajae no. 72 and was a former leader of Gyeonggi Dorip Gugakdan. He is currently a professor of Arts College, Pusan University.

Yu Gyeong-hwa is involved on the Project Group ¡®Sangsang¡¯ and performs at Seoul Sirip Gugak Orchestra. She also teaches music at Seoul National University and Korean National University for Arts.

Brief note for the programme

THE FIRST MADANG

¡°A story that needs to be told to the world, to be released by the bow stick...¡±
The Pak Jong-seon Ryu Ajaeng Sanjo
ajaeng: Yi Tae-baek/ janggu: Pak Jong-seon

Weep, weep
Why don¡¯t you cry your heart out!
Screaming towards the world
Your voice
Becoming tears before I am aware,
To the very bottom of my heart
Being gathered in such a way without sound
The tears
As being led to be high and low by the bow stick
Going out of the world
Why don¡¯t you release that way!

The ajaeng (7 stringed zither with a bow stick) is the string instrument that makes people¡¯s heart feel sorrowful. In this respect, its sound is considered as a ¡®tear¡¯. When most people tell their own story, listeners may shed tears with the story being told. In a case of musicians, they tell a story with their
playing, and musicians shed tears caused by the musical sound they play. If a musical sound is not able to weep by itself, listeners would not be touched by their playing.

There are lots of stories to be told to you with the ajaeng, and my ajaeng always becomes a tear. It blames itself for not being wept with abandon, so it cries again... We want to listen to the story of our lives, as the bow stick of the ajaeng leads us to...

NOTE: The ajaeng is a 8 stringed zither (one string is added recently) and its sound is produced by drawing the string with the bow stick. It has the lowest range among Korean instruments. The Ajaeng Sanjo is a sanjo that is played on the sinawi melodies accompanied with the janggu jangdan, and the sanjo music
requires the player with a masterly playing technique and improvisational capacity.

THE SECOND MADANG
¡°The ¡®sori¡¯ that is the most beautiful in the world, making the jangdan tense...¡±

Danga ¡®Eohwasesang¡¯
sori: Yi Yim-rye/ barrel drum: Yi Tae-baek

Section of Mr Shim¡¯s opening eyes from PANSORI - SHIMCHEONGGA
sori: Yi Yim-rye/ barrel drum: Yi Tae-baek
What was the ¡®sori¡¯ that you wanted to give,
I knew not before in time
The ¡®sori¡¯ that you eagerly wanted to leave to the world
How could I know of what it really was!
That one that you desperately are in search for in the world
I wonder what kind of colour was it
I was not able to image it at all
In that way you have left your intention with a silent will.
Now I have understood what the ¡®sori¡¯ was
With very vagueness
I think I may know it.
It is no doubt that artist should be born with a natural gift. The inherent is closely associated with a family tradition. When the blood mixes within the member of the family, the ¡®sori¡¯ will be tied up with one kind style of the sound as a production of fatality. Now we are to meet the ¡®sori¡¯ of a mother and the drum of a son in order to making music. As in an act of the will, with a silent word, we try to open the ¡®sori¡¯ to the brightest and the most beautiful sound, and in order to transmit the vein of the ¡®sori¡¯ to the next generation, the mother and the son seek to ¡®release¡¯ clearly for the ¡®sori¡¯ for the good.

NOTE: Pansori is the representative Korean traditional vocal music, and it consists of the most dramatic elements. Of its repertoire, Simcheongga (song of Simcheong) is based on the ¡®filial devotion to her blind father¡¯ presented in the Samgang-Oryun (the 3 basic human relations between sovereign & subject, father & son, husband & wife, and moral rules to govern the Five Human Relations) and is developed into the didactic story, which requires a highly artistic skill in rendering.

Section of Mr Shim¡¯s opening eyes from PANSORI - SHIMCHEONGGA is the scene of the story which the pansori singer displays his/her musicianship the maximum, and it contains the saddest seongeum (the way of interpreting melodic arrangement, or ¡®feeling¡¯ of the sori) of Korean melodies.

These two performers, myeongchang Yi Yim-rye and Yi Tae-baek, in this section are the mother and the son in real life. Both played the leading roles in the film ¡®Hwimori¡¯, where Yi Tae-baek played a male hero instead of his actual father. We will listen to the most beautiful sori which will be told by these heroines appeared in Hwimori.

THE THIRD MADANG
¡°A rest (.) and an abridgement (...) for meeting and parting in the world¡±
The Ajaeng, Cheolhyeongeum (= the geomungo with metal strings) - Sanjo-Byeongju
Ensemble: ajaeng: Yi Tae-baek/ cheolhyeongeum: Yu Gyeong-hwa/ janggu: Pak Hwan-yeong

Borning into the world and meeting the most immediate love
In the time that seemed to be forever
In the space where ¡®love¡¯ is
We always think of meeting and parting at the same time
Meeting and parting essentially differ
And these are, at the same time, the same,
And that is sorrow.
Raise carefully the most beautiful part, of the sorrow,
A long strip of a ¡®sori¡¯
The sad and beautiful sound that holds it with the bow stick
For an infinitive imagination in order to catch the sori 
I¡¯d like to mark with a rest.
It seems to me that there is no such thing like marking always with a full stop in our life. If to live his/her life is every body¡¯s duty in the world, love also can be the duty, and meeting which exists on the premise that love will be a destiny. If so, what is meeting and parting? Are they optional, or a duty? We mark with a rest in incessant questions.

As the comma of a ¡®temporary stop¡¯ that makes it end vaguely, and it leads it to connect the continuous meeting, it can be understood that the ajaeng and the hyeongeum (also refers to the geomungo) have the same context and also different resonances. The ajaeng and the cheolhyeongeum are to play the same melodies, and they are, after all, to leave as different echoes. The duet shows the most beautiful meeting and the lonesome parting in our life. However, the cheolhyeongeum has just started to show its existence in front of us, and it seems to have more time to meet the world rather than parting. The instrument hopes to imprint its mark to the bottom of our heart in harmony incorporated with the ajaeng as it was.

So we¡¯d like to add the abridgement for memory that will be marked lucidly in our heart.

NOTE: Most Korean stringed instruments are made of a thread of silk strings, but the strings of the cheolhyeongeum presented here are made of metal. The cheolhyeongeum is modeled by the geomungo and is frequently played in recent year. Korean music has been actively involved in searching for a new music and new sounds with encountering different kinds of instruments which seemed not to be fit each other at all.

THE FOURTH MADANG

¡°From the lowest place in the world to heaven...¡±
The Ajaeng, Taepyeongso, Janggu - Sorinoreum
ajaeng: Yi Tae-baek/ taepyeongso: Pak Jong-seon/ janggu: Kim Deok-soo
My teacher!
My teacher like a heaven!
No, my teacher is the heaven.
My teacher who always feels so sorry not to have taught
So many things throughout his life
As did do the same way by the previous master before him
I¡¯d like so much to be like you
Blank paper that was not yet painted
More than any other pictures
My teacher¡¯s love that made it painted excellently
Today, I confirm with you with great honour in this place
To the pupil who is placed in the lowest place
Remembering your advice for ¡°play always the music of heaven¡±
Deeply in your heart
My teacher¡¯s heart who appeared on the stage with his pupil
Before you aware
I wish his mind peaceful
Today I¡¯ll choose the lowest tone towards the heaven.
The ajaeng, with the lowest range, and the taepyeongso (conical oboe), with the highest tones, are performing a gut (shaman ritual) accompanied with the delightful janggu jangdan. This intense sonority holds our special friendship as a teacher and pupil, as well as a senior and a junior, and its sori will be a
pleasant cooler to the listener.

As Han Il-seop, master musician and the teacher of Pak Jong-seon, once commented on his pupil, Pak Jong-seon was good at playing the ajaeng and the taepyeongso, and Yi Tae-baek, who is the pupil of Pak Jong-seon, is good at playing the ajaeng and the drum. In this respect, the ajaeng music performed by Yi Tae-baek today becomes such a music that will be transmitted to his another teacher who would be in heaven, and we will be listening to the music that leads us to the heaven.

NOTE: The relationship between the teacher and the pupil in Korean musical world is very crucial. This is because the pupil is not simply learning music and its technique from the teacher, but it is more to do with learning a spirit and attitude from the teacher, as this remains as esoteric lessons that are essential to learning life as well.

¡®Jieum¡¯ refers to the ¡®self¡¯ who understands the world of music. Yi Tae-baek and Kim Deok-soo are jieum who understand very well each other¡¯s music, and they are the relationship between the senior and the junior who immediately notice even through each other¡¯s eyes. One is willing to be backward for the other¡¯s outstanding presence for music-making, and this care is the strong sympathy that can only be existed in Korean music world.

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