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TOPCD-161
 
Hyo-shin Na¡¯s Music for Korean kayageum and Japanese koto
³ªÈ¿½ÅÀÇ °¡¾ß±Ý°ú °íÅ並 À§ÇÑ À½¾Ç
 
Shoko Hikage, koto & bass koto ¼îÄÚ È÷Ä«°Ô, °íÅä & º£À̽º °íÅä
Thomas Schultz, piano Å丶½º ½¶Ã÷, ÇǾƳë
You Jin Sung, kayageum & 25 string kayageum ¼ºÀ¯Áø, °¡¾ß±Ý & 25Çö±Ý
01 ¡á Koto Music - for koto solo (2011) °íÅä À½¾Ç - °íÅä µ¶ÁÖ - 2011³â ÀÛ°î  08:16
    ¡á Five Pieces on Yoshie Hikage¡¯s Poems - for koto solo (2012 - 2013)
    ¿ä½Ã¿¡ È÷Ä«°Ô ½Ã¿¡ ¹ÙÅÁÀ» µÐ ´Ù¼¸ °³ÀÇ ¼ÒÇ° – °íÅä µ¶ÁÖ - 2012³â–2013³â ÀÛ°î
02  I. Fukushima Refugees ÈÄÄí½Ã¸¶ Çdz­¹Îµé  01:57
03  II. No More! ÀÌÁ¦ ±×¸¸!  01:09
04  III. For the Wild Chrysanthemum ¾ß»ý ±¹È­¸¦ À§ÇÏ¿©  01:03
05  IV. For the Adonis Á¶±×¸¸ °Ü¿ï²É  01:09
06  V.  Missing You, Husband ´ç½ÅÀ» ±×¸®¸ç  01:39
07 ¡á Song of the Firewood - for 25 string kayageum (2010) 
    ÀåÀÛ°³ºñÀÇ ³ë·¡ - 25Çö±Ý µ¶ÁÖ – 2010³â ÀÛ°î   15:00
    ¡á Koto, Piano - for koto and piano (2014)
    °íÅä, ÇÇ¾Æ³ë – °íÅä¿Í ÇǾƳë ÀÌÁßÁÖ - 2014³â ÀÛ°î  
08  I.  03:20
09  II.  03:01
10  III.   02:14
11 ¡á Chrysanthemum Song - for koto and 25 string kayageum (2012)
    ±¹È­ÀÇ ³ë·¡ – °íÅä¿Í 25Çö±Ý ÀÌÁßÁÖ - 2012³â ÀÛ°î  05:56
12 ¡á Echoes of Harmonious Music - for kayageum and koto (2012)
    Á¶È­·Î¿î À½¾ÇÀÇ ¸Þ¾Æ¸® – °íÅä¿Í °¡¾ß±Ý ÀÌÁßÁÖ – 2012³â ÀÛ°î  07:59
13 ¡á Go On Listening - for kayageum and bass koto (2014)
    ¿¾Ä£±¸¿©, ´ç½ÅÀº ¹«¾ùÀ» µè´Â°¡ – °¡¾ß±Ý°ú º£À̽º °íÅä ÀÌÁßÁÖ – 2014³â ÀÛ°î  09:41
14 ¡á That Old Woman - for bass koto and 25 string kayageum (2013)
    °Ç³Ó¸¶À» ÇÒ¸Ó´Ï – º£À̽º °íÅä¿Í 25Çö±Ý ÀÌÁßÁÖ – 2013³â ÀÛ°î  10:23

- About the Music -
The eight pieces recorded here were composed between 2010 and 2014. Song of the Firewood was commissioned by Hyunchae Kim; the other pieces were written for Shoko Hikage, for whom I¡¯ve composed almost 30 pieces in the last eleven years. This CD is a result of the collaboration between Shoko and myself.
A few words about my intentions in writing a set of four duos for Korean kayageum and Japanese koto:
Chrysanthemum Song (for koto and 25 string kayageum)
The texture of the kayageum¡¯s music is initially quite dense and gradually thins while the koto begins with a thin sound and texture that is progressively thickens.
Echoes of Harmonious Music (for kayageum and koto)
The koto and kayageum play quasi-unison-like music; however, if you listen to the individual parts you hear that what each plays is quite different, each within her own tradition (kayageum in 3/koto in 2, kayageum with many ornaments/koto with few, etc.).
Go On Listening (for kayageum and bass koto)
Two players share one melody by listening attentively to each other¡¯s playing and alternating, quasi-hocket, to make the line.
That Old Woman (25 string kayageum and bass koto)
Two virtuoso pieces (one for bass koto & one for 25 string kayageum) played simultaneously.
Thoughts about the solo pieces:
Koto Music (for koto solo)
My focus here is on the clarity and directness of the instrument¡¯s playing technique and sound.
 
Five Pieces on Yoshie Hikage¡¯s Poems  (for koto solo)
Each short poem has its counterpoint in sound.
Song of the Firewood  (for 25 string kayageum)
The unusual tuning makes possible many intervals of 1/3 or 2/3 of a tone and the player is asked not to re-tune the instrument during the piece despite the fact that the kayageum naturally goes ¡°out of tune¡± while being played. This is a virtuoso piece with a texture that is frequently complex.
Finally, about Koto, Piano:
Koto, Piano (for koto and piano)
The two instruments are modest in character and have a friendly relationship while playing this piece.
Hyo-shin Na
November 14, 2014
San Francisco

 
– À½¾Ç¿¡ °üÇÏ¿© –

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- Notes on the Music -   
- ÀÛÇ°µé¿¡ °üÇÏ¿© -

Koto Music - for koto solo (2011)
Koto Music exists in two versions: a version written in 2009 for three kotos and a version from 2011 for koto solo.The materials used in this piece are very limited, and there is no development of these materials.

°íÅä À½¾Ç - °íÅä µ¶ÁÖ°î - 2011³â ÀÛ°î
°íÅä À½¾ÇÀº µÎ °³ÀÇ ¹öÀüÀ¸·Î Á¸ÀçÇÑ´Ù: Çϳª´Â 2009³â¿¡ ¼¼ ´ëÀÇ °íÅ並 À§ÇÑ °ÍÀÌ°í ¶Ç Çϳª´Â 2011³â¿¡ ¾²¿©Áø °íÅä µ¶ÁÖ°îÀÌ´Ù. ÀÌ ÀÛÇ°¿¡´Â ¸Å¿ì Á¦ÇÑµÈ À½¾ÇÀû Àç·á°¡ »ç¿ëµÇ¾ú°í, ÀÌ Àç·áµéÀº ÀǵµÀûÀ¸·Î ¹ßÀüµÇÁö ¾Ê¾Ò´Ù.
Five Pieces on Yoshie Hikage¡¯s Poems  - for koto solo (2012 – 2013)
In 2012 and early 2013 Hyo-shin Na wrote music for five of the 19 poems included in Yoshie Hikage¡¯s collection For the Pink Dianthus (written after the 2011 earthquake and tsunami in Japan). These five short pieces for koto solo were commissioned by Shoko Hikage. The translation from the Japanese is by Brenda Wong Aoki.

Five Pieces on Yoshie Hikage¡¯s Poems

1. Fukushima Refugees
    Little Fukushima refugees worry:
    Grandma, can we play outside?
    Grandma, is it safe outside?
    Grandma, we are afraid outside
2. No More!
    Still in diapers, tiny twin boys raise their fists:
    Earthquake!
    Tsunami!
    Radiation!
    NO MORE!
3. For the Wild Chrysanthemum
    Over the hill of wild chrysanthemums,
    Red dragonflies high in the sky
    Where are you going?
4. For the Adonis
    Sharing you with the Sun
    Happiness pours over me
    How lovely!
5. Missing You, Husband
    Your voice
    So deep and rich
    Still rumbles in my heart

¿ä½Ã¿¡ È÷Ä«°Ô ½Ã¿¡ ¹ÙÅÁÀ» µÐ ´Ù¼¸ °³ÀÇ ¼ÒÇ° - °íÅä µ¶ÁÖ°î - 2012³â–2013³â ÀÛ°î
¿ä½Ã¿¡ È÷Ä«°Ô ½Ã¿¡ ¹ÙÅÁÀ» µÐ ´Ù¼¸ °³ÀÇ ¼ÒÇ°Àº È÷Ä«°Ô ½ÃÀÎÀÌ 2011³â ÀϺ»ÀÇ ÁöÁø°ú ¾²³ª¹Ì ÈÄ¿¡ ¾´ 19°³ÀÇ ½Ãµé Áß¿¡¼­ ´Ù¼¸ °³ÀÇ ½Ã¿¡ ¹ÙÅÁÀ» µÎ°í ¾²¿©Á³´Ù. ÀÌ ´Ù¼¸ °³ÀÇ ÀÛÇ°µéÀº ¼îÄÚ È÷Ä«°ÔÀÇ À§ÃËÀ¸·Î ¸¸µé¾îÁ³´Ù.

I.  ÈÄÄí½Ã¸¶ Çdz­¹Îµé – ²¿¸¶ ÈÄÄí½Ã¸¶ Çdz­¹ÎµéÀº °ÆÁ¤À» Çϳ׿ä: ÇÒ¸Ó´Ï, ¿ì¸® ¹Û¿¡ ³ª°¡ ³î¾Æµµ µÉ±î¿ä? ÇÒ¸Ó´Ï, ¹Û¿¡ ³ª°¡´Â °ÍÀÌ ¾ÈÀüÇÑ°¡¿ä? ÇÒ¸Ó´Ï, ¹Û¿¡ ³ª°¡±â°¡ ¹«¼­¿ö¿ä.

II.  ÀÌÁ¦ ±×¸¸! – ¾ÆÁ÷ ±âÀú±Í¸¦ Âù ½Öµ¿ÀÌ ¾Æ±âµéÀÌ ÁÖ¸ÔÀ» Áã°í ¸»Çϳ׿ä! ÁöÁø! ¾²³ª¹Ì! ¹æ»ç´É! ÀÌÁ¦ ±×¸¸!
III. ¾ß»ý ±¹È­¸¦ À§ÇÏ¿© – ¾ß»ý ±¹È­°¡ ¸¸¹ßÇÑ ¾ð´ö À§·Î ÇÏ´Ã ³ôÀÌ ³¯¾Æ°¡´Â ºÓÀº ÀáÀÚ¸®¾ß, ³Ê, ¾îµð °¡´Ï?
IV. Á¶±×¸¸ °Ü¿ï²É – ³Ê¿Í ÇÔ²² ÇÞºûÀ» ÂÉÀ̸é ÇູÀÌ ³»°Ô·Î ¿Â´Ù. ¾Æ, ÁÁ¾Æ¡¦
V. ´ç½ÅÀ» ±×¸®¸ç – ±í°í dzºÎÇÑ ´ç½ÅÀÇ ¸ñ¼Ò¸®¡¦ ¾ÆÁ÷µµ ³» °¡½¿ ¼Ó¿¡¼­ ¿ï¸®³×
(¹ø¿ª – ³ªÈ¿½Å)
Song of the Firewood – for 25 string kayageum (2010)
The title and the inspiration of this piece came from a poem by Jaime de Angulo who was born in 1887 in Paris and went to Johns Hopkins University. He lived mostly in Northern California as a linguist, poet, and musicologist.

Song of the Firewood
                       by Jaime de Angulo
I am old, twisted, dry. I am cold.
Build the fire.
Heh! heeh-heh ... he-he-he ... feel good.
Let the chief call the dancers

Firewood becoming ashes: this is the structure and texture of this piece, which was commissioned by Hyunchae Kim.
ÀåÀÛ°³ºñÀÇ ³ë·¡ - 25Çö±Ý µ¶ÁÖ°î – 2010³â ÀÛ°î
ÀåÀÛ°³ºñÀÇ ³ë·¡´Â 1887³â¿¡ Æĸ®¿¡¼­ Ãâ»ýÇß°í Á¸½º ȩŲ½º ÀÇ°ú´ëÇп¡ ´Ù³æÀ¸³ª ºÏĶ¸®Æ÷´Ï¾Æ ÅäÂø¹ÎÀÇ ¾ð¾î¸¦ ¿¬±¸ÇÏ´Â ÇÐÀÚ·Î »ì¾Ò´ø ÇÏÀÌ¹Ì µå ¾ØÁÙ·Î(Jaime de Angulo)ÀÇ ½Ã¿¡ ¹ÙÅÁÀ» µÎ°í ¾²¿©Á³´Ù.
ÀåÀÛ°³ºñÀÇ ³ë·¡ – ÇÏÀÌ¹Ì µå ¾ØÁÙ·Î, ½Ã
³ª´Â ´Ä¾ú¾î¿ä. ³ª´Â µÚƲ·È¾î¿ä. ³ª´Â ¹Ù¦ ¸»¶ú¾î¿ä.
³ª´Â ¸÷½Ã Ãß¿ö¿ä. ºÒ Á» ÇÇ¿ó½Ã´Ù¿ä!
Çì! ÇìÇì ... È÷È÷È÷ ... (ºÒÀ» ÇÇ¿ì´Ï µû¶æÇϳ׿ä!)
ÀÚ¾Æ, ÀÌÁ¦ ¸ðµÎ ÃãÀ» Ãä½Ã´Ù¾Æ¡¦                                    (¹ø¿ª – ³ªÈ¿½Å)
ÀåÀÛ°³ºñ°¡ Àç·Î º¯ÇÏ´Â °úÁ¤ÀÌ ÀÌ ÀÛÇ°ÀÇ ±¸Á¶(structure)¿Í Â¥ÀÓ»õ(texture)°¡ µÇ¾ú´Ù. ÀÌ ÀÛÇ°Àº ±èÇöä°¡ À§ÃËÇß´Ù.
Koto, Piano – for koto and piano (2014)
In April, 2014, I enjoyed looking at woodcuts by Paul Gauguin at the Museum of Modern Art in New York City. I especially liked a series of his works that shared the same pattern but were in different colors. The impression from these woodcuts influenced me to write Koto, Piano. This work is made of three short pieces – while they are similar, each one has its own unique character.
°íÅä, ÇÇ¾Æ³ë – °íÅä¿Í ÇǾƳë ÀÌÁßÁÖ°î - 2014³â ÀÛ°î
2014³â 4¿ù, ³ª´Â ´º¿åÀÇ Çö´ë¹Ì¼ú°ü¿¡¼­ Æú °í°»ÀÇ ¸ñÆÇÈ­ ÀÛÇ°µéÀ» ºÃ´Âµ¥, ƯÈ÷ ±×°¡ ÇϳªÀÇ ¸ñÆÇÈ­·Î ¸¸µç ¿©·¯ ´Ù¸¥ »öÀÇ ÆÇÈ­µé·ÎºÎÅÍ °¨µ¿À» ¹Þ¾Ò´Ù. ÀÌ °¨µ¿À» ¸¶À½¿¡ ´ã°í ³ª´Â ¡®°íÅä, ÇǾƳ롯 ¸¦ ÀÛ°îÇϱ⠽ÃÀÛÇß´Ù – ÀÌ ÀÛÇ°Àº ¼­·Î ºñ½ÁÇÑ ¼¼ °³ÀÇ ÂªÀº ÀÛÇ°µé·Î ÀÌ·ç¾îÁ³´Âµ¥, À¯»ç¼ºÀ» Áö´Ï¸é¼­µµ °¢°¢ÀÇ °íÀ¯ÇÑ ¼º°ÝÀ» Áö´Ï°í ÀÖ´Ù.
Chrysanthemum Song – for koto and 25 string kayageum (2012)
The inspiration of Chrysanthemum Song came from a poem by the Japanese poet Kaen (1697 - 1772).
A back-yard chrysanthemum
Looked at the setting sun
And faded
This piece was commissioned by Shoko Hikage.
±¹È­ÀÇ ³ë·¡ – °íÅä¿Í 25Çö±Ý ÀÌÁßÁÖ°î - 2012³â ÀÛ°î
±¹È­ÀÇ ³ë·¡´Â ÀϺ»ÀÇ ½ÃÀÎ Ä«¿£(1697 – 1772)ÀÇ ½Ã¿¡ ¹ÙÅÁÀ» µÎ°í ¾²¿©Á³´Ù.
µÞ¸¶´çÀÇ ±¹È­°¡
Áö´Â Çظ¦ ¹Ù¶óº¸´Ù°¡
½º·¯Á³´Ù.
ÀÌ ÀÛÇ°Àº ¼îÄÚ È÷Ä«°ÔÀÇ À§ÃËÀ¸·Î ¾²¿©Á³´Ù.
Echoes of Harmonious Music – for kayageum and koto (2012)
Echoes of Harmonious Music for 12 String Kayageum and 13 String Koto (2012) is the second piece of Hyo-shin Na¡¯s series of four works for kayageum/koto duo. It is written as a quasi-unison piece where the two instruments follow their own nature (kayageum tends to play music in a triple meter whereas koto almost always plays in a duple rhythm; lavish ornamentation is the norm for a kayageum player and almost anathema for the player of the koto) as well as the path of the piece¡¯s melody.
Echoes of Harmonious Music was commissioned by the Zellerbach Family Foundation and the W & F Hewlett Foundation.
Á¶È­·Î¿î À½¾ÇÀÇ ¸Þ¾Æ¸® – °íÅä¿Í °¡¾ß±Ý ÀÌÁßÁÖ°î – 2012³â ÀÛ°î
Á¶È­·Î¿î À½¾ÇÀÇ ¸Þ¾Æ¸®´Â °¡¾ß±Ý°ú °íÅä°¡ ¡®°°À¸³ª ¿Ïº®ÇÏ°Ô ¶È°°Áö´Â ¾ÊÀº¡¯ À½¾ÇÀ» µ¿½Ã¿¡ ¿¬ÁÖÇÔÀ¸·Î½á ¸¸µé¾îÁö´Â ÀÛÇ°ÀÌ´Ù. ¿¬ÁÖÀÚµéÀº °°Àº ¼±À²À» ¿¬ÁÖÇϵÇ, µÎ ¾Ç±âÀÇ °¢°¢ °íÀ¯ÇÑ ¼º°ÝÀ» Á¸ÁßÇÏ¸ç ¿¬ÁÖÇÑ´Ù – À̸¦Å׸é, °¡¾ß±ÝÀº 3¹Ú – °íÅä´Â 2¹Ú, °¡¾ß±ÝÀº È­·ÁÇÑ Àå½ÄÀ½À» °®°í – °íÅä´Â °³¹æÇö Áß½ÉÀ¸·Î ¿¬ÁÖÇÑ´Ù.
ÀÌ ÀÛÇ°Àº Zellerbach Family Foundation°ú W & F Hewlett FoundationÀÇ ÈÄ¿øÀ» ¹Þ¾Æ ÀÛ°îµÇ¾ú´Ù.
Go On Listening – for kayageum and bass koto (2014)
Go On Listening is based on W. S. Merwin¡¯s poem ¡°To Maoli as the Year Ends¡±.
Now that I think you no longer hear me
you go on listening to me
as you used to listen to music
old friend what are you hearing
that I do not hear though I listen
through the light of thirty thousand days
you still hear something that escapes me
The two players listening closely to each other and the friendly relationship between them stems from Merwin¡¯s poem.
This piece was composed with the support of the Zellerbach Family Foundation and the San Francisco Friends of Chamber Music.
¿¾Ä£±¸¿©, ´ç½ÅÀº ¹«¾ùÀ» µè´Â°¡ – °¡¾ß±Ý°ú º£À̽º °íÅä ÀÌÁßÁÖ°î – 2014³â ÀÛ°î
¿¾Ä£±¸¿©, ´ç½ÅÀº ¹«¾ùÀ» µè´Â°¡´Â ¹Ì±¹ ½ÃÀÎ W. S. MerwinÀÇ ¡®¼¼¹Ø ¹«·Æ¿¡ Maoli¿¡°Ô¡¯¶ó´Â ½Ã¿¡ ¹ÙÅÁÀ» µÎ°í ÀÛ°îµÇ¾ú´Ù.
¼¼¹Ø ¹«·Æ¿¡ Maoli¿¡°Ô - W. S. Merwin
Áö±Ý ´ç½ÅÀÌ ´õ ÀÌ»ó ³» ¸»À» µéÀ» ¼ö ¾ø´Ù°í ³»°¡ »ý°¢ÇÒ Àû¿¡
´ç½ÅÀº °è¼Ó °æûÇÏ°í ÀÖÁö
´ç½ÅÀÌ À½¾ÇÀ» µè°ï ÇÏ´ø °Íó·³
¿¾Ä£±¸¿©, ´ç½ÅÀº ¹«¾ùÀ» µè´Â°¡
»ï¸¸ ÀÏÀÇ ºûÀ» ÅëÇÏ¿©
³»°¡ µéÀ¸·Á ³ë·ÂÇصµ µèÁö ¸øÇÏ´Â ±×·± °ÍÀ» µè´Â°¡
³ª¸¦ ºñ²¸°¡´Â ±× ¹«¾ùÀ» ¾ÆÁ÷µµ ´ç½ÅÀº µè°í Àִ°¡(¹ø¿ª – ³ªÈ¿½Å)
ÀÌ ÀÛÇ°À» ¿¬ÁÖÇÏ´Â µÎ À½¾Ç°¡µéÀÌ ¼­·ÎÀÇ ¿¬ÁÖ¸¦ ÁýÁßÇÏ¿© µè´Â Á¡°ú µÎ ¿¬ÁÖÀÚ »çÀÌÀÇ Á¤´Ù¿î °ü°è´Â À§ÀÇ ½Ã·ÎºÎÅÍ ¿µÇâÀ» ¹Þ¾Ò´Ù.
ÀÌ ÀÛÇ°Àº Zellerbach Family Foundation°ú San Francisco Friends of Chamber MusicÀÇ ÈÄ¿øÀ¸·Î ÀÛ°îµÇ¾ú´Ù.
That Old Woman – for bass koto and 25 string kayageum (2013)
The humorous character of That Old Woman for 25 string kayageum and bass koto came from Cold Mountain¡¯s poem.
An old lady who lives to the east
got rich a few years ago
before poorer than me
She now mocks my poverty
She laughs that I¡¯m behind
I laugh that she¡¯s ahead
It seems we can¡¯t stop laughing
from the east and from the west
This piece was composed with the support of the Zellerbach Family Foundation and the San Francisco Friends of Chamber Music.
°Ç³Ó¸¶À» ÇÒ¸Ó´Ï – º£À̽º °íÅä¿Í 25Çö±Ý ÀÌÁßÁÖ°î – 2013³â ÀÛ°î
°Ç³Ó¸¶À» ÇÒ¸Ó´ÏÀÇ Àͻ콺·¯¿î ¼º°ÝÀº ÇÑ»ê(ùÎߣ)ÀÇ ½Ã¿¡ ¹ÙÅÁÀ» µÎ°í ÀÛ°îµÇ¾ú´Ù.
°Ç³Ó¸¶À» ÇÒ¸Ó´Ï – ÇÑ»ê(ùÎߣ)
°Ç³Ó¸¶À» »ç´Â ÇÒ¸Ó´Ï°¡
¸î ³â Àü¿¡ ºÎÀÚ°¡ µÇ¾ú´ë¿ä
ÀÌ ÇÒ¸Ó´Ï ¿¹Àü¿¡´Â ³ªº¸´Ù °¡³­Çß¾úÁö¿ä
ÀÌÁ¦ ºÎÀÚ°¡ µÈ ÇÒ¸Ó´Ï´Â ³»°¡ °¡³­ÇÏ´Ù°í ³î·Á¿ä
°Ç³Ó¸¶À» ÇÒ¸Ó´Ï´Â ³»°¡ Àúº¸´Ù µÚÁ³´Ù°í ¸¶¾Ç ¿ô´Âµ¥
³ª´Â ±× ÇÒ¸Ó´Ï°¡ ³ªº¸´Ù ¾Õ¼­°£´Ù°í ¸¶¾Ç ¿ôÁö¿ä
¾Æ, ±×·±µ¥ ¿ì¸° µÑ ´Ù ¿ôÀ½À» ¸ØÃâ ¼ö°¡ ¾ø³×¿ä
¿ì¸® µ¿³×¿¡¼­ ¿ô°í¿ä, °Ç³Ó¸¶À»¿¡¼­µµ ¿ô°í¿ä(¹ø¿ª – ³ªÈ¿½Å)
ÀÌ ÀÛÇ°Àº Zellerbach Family Foundation°ú San Francisco Friends of Chamber MusicÀÇ ÈÄ¿øÀ¸·Î ÀÛ°îµÇ¾ú´Ù.
After studying piano and composition in her native Korea, Hyo-shin Na came to the U.S. in 1983 to do graduate work at the Manhattan School of Music and the University of Colorado, where she received her doctorate. After moving to San Francisco in 1988, she met Cage, Rzewski, Wolff and Takahashi, and encountered the music of Nancarrow. At the same time, she made return trips to Korea to hear and study traditional Korean music while also taking a broad interest in the music of other regions of Asia.
  
 Hyo-shin Na has written for western instruments, for traditional Korean instruments and has written music that combines western and Asian (Korean and Japanese) instruments and ways of playing. Her music for traditional Korean instruments is recognized by both composers and performers in Korea (particularly by the younger generation) as being uniquely innovative. Her writing for combinations of western and eastern instruments is unusual in its refusal to compromise the integrity of differing sounds and ideas; she prefers to let them interact, coexist and conflict in the music.
   In Korea, she has twice been awarded the Korean National Composers Prize, and in the west she has been commissioned by the Fromm and Koussevitzky Foundations among many others. Her music has been played worldwide by ensembles as varied as the Barton Workshop, the San Francisco Contemporary Music Players, the Kronos Quartet, and the Korean Traditional Orchestra of the National Theatre. Portrait concerts, consisting solely of her music, have been presented in Amsterdam by the Barton Workshop (2006), in Seoul by JeonGaAkHoe (2009) and Buam Arts (2009), at Texas A&M University (2007) and in San Francisco and Santa Cruz, California by New Music Works in 2012. She is now working on a piece for the San Jose Chamber Orchestra for the 2016-17 concert season.
   She is the author of the bilingual book Conversations with Kayageum Master Byung-ki Hwang (Pulbit Press, 2001). Her music has been recorded on the Fontec (Japan), Top Arts (Korea), Seoul (Korea) and New World Records (US) labels and has been published in Korea and Australia. Since 2006 her music has been published exclusively by Lantro Music (Belgium).
³ªÈ¿½Å, ÀÛ°î°¡

¾Ï½ºÅ׸£´ãÀÇ ¹ÙÆ°¿öÅ©¼¥, ÇϹöµå´ëÇÐÀÇ ÇÁ·ÒÀç´Ü, »÷ÇÁ¶õ½Ã½ºÄÚ Çö´ëÀ½¾Ç´Ü, ¾Æ´õ ¸¶ÀÎÁî Æ佺Ƽ¹ß, ¾Ë°í½ÃÀç´Ü, Á©·¯¹ÙÇÏÀç´Ü, Á¤°¡¾Çȸ, ±¹¸³±¹¾Ç¿ø, ·Î½º¿£Á©·¹½º ÀÎÅͳ»¼Å³Î ¹ÂÁ÷ Æ佺Ƽ¹ß, Äí¼ÎºñÃ÷Å°Àç´Ü, ´º ¹ÂÁ÷ ¿÷½º, µ¨¼Ö Çö¾Ç»çÁßÁÖ´Ü, ¾ÆÀ̺êÁî Çö¾Ç»çÁßÁÖ´Ü, ¾Æ¸®¿À½º ½Ì¾îÁî, ·¹ÇÁÆ® ÄÚ½ºÆ® è¹ö¾Ó»óºí, À̾î Ç÷¹ÀÌ, ÄÜƼ´©¾ö ÄܼҿÀÆ®, ÆÛ½ÃÇÈ Ã¨¹ö½ÉÆ÷´Ï, ¹ÂÁ÷ ³ª¿ì, ½ÃƼ À©Áî, ¶õŸ³ª °íÅä¾Ó»óºí, °æ±â °¡¾ß±Ý¾Ó»óºí, ·Î½º¿£Á©·¹½º ±¹Á¦Çö´ëÀ½¾ÇÁ¦, ÀüÁÖ¼¼°è¼Ò¸®ÃàÁ¦, ±¹¸³±ØÀå ±¹°¡ºê·£µå ÇÁ·ÎÁ§Æ®, »êÈ£¼¼ è¹ö ¿ÀÄɽºÆ®¶ó, ÇǾƳ뽺ÇǾîÁî, Å©·Î³ë½º Çö¾Ç»çÁßÁÖ´Ü, ¿ìµçÇǽ¬¾Ó»óºí, ¼­¿ï½Ã ±¹¾Ç°üÇö¾Ç´Ü, Çѱ¹ Çö´ëÀ½¾Ç¾Ó»óºí, °¡¾ß±ÝÁÖÀÚ ±èÇöä, ÇرÝÁÖÀÚ ³ëÀº¾Æ, °íÅäÁÖÀÚ ¼îÄÚ È÷Ä«°Ô, ÇǾƴϽºÆ® Å丶½º ½¶Ã÷, ÇǾƴϽºÆ® ¼öÀÜ ½ºÇǾîý µî ¿©·¯ ´Üü¿Í À½¾Ç°¡µé·ÎºÎÅÍ À§ÃËÀ» ¹Þ¾Æ¼­ È°µ¿ Áß.
Thomas Schultz has established an international reputation both as an interpreter of music from the classical tradition – particularly Bach, Beethoven, Schubert and Liszt – and as one of the leading exponents of the music of our time. Among his recent engagements are solo recitals in New York, San Francisco, Berlin, Ghent, Seoul, Taipei and Kyoto, and at the Schoenberg Festival in Vienna, the Piano Spheres series in Los Angeles, Korea¡¯s Tongyoung Festival, the Festival of New American Music in Sacramento and the April in Santa Cruz Festival. He has also appeared as a soloist at the Other Minds Festival in San Francisco, and in chamber music performances with the San Francisco Contemporary Music Players, the Da Camera Society of Houston, Robert Craft¡¯s 20th Century Classics Ensemble and the St. Lawrence String Quartet. In 2005, 2010 and 2014 he gave a series of masterclasses on the piano music of the Second Viennese school at the Schoenberg Center in Vienna.
   His recitals are notable for programming that celebrates the continuing vitality of the piano repertoire, juxtaposing the old and the new or focusing solely on new works. He has worked closely with such eminent composers as Cage, Feldman, Wolff, Rzewski, Earle Brown, Jonathan Harvey and Elliott Carter (in performances of the Double Concerto at the Colorado Music Festival and at Alice Tully Hall in New York).
   Since 2002, Schultz has included in his recitals works written especially for him by Frederic Rzewski (The Babble, 2003), Christian Wolff (Touch, 2002; Long Piano, 2005), Hyo-shin Na (Rain Study, 1999; Walking, Walking, 2003), Walter Zimmermann (AIMIDE, 2001/02), Boudewijn Buckinx (The Floating World, 2004) and Yuji Takahashi (For Thomas Schultz, 2001).
   His recording of Stravinsky¡¯s Concerto for Two Solo Pianos is on the MusicMasters label; he can be heard in chamber works of Earle Brown on a Newport Classics recording and his recordings of works by the Korean composer Hyo-shin Na on CDs from the Seoul and TopArt labels have received special recognition. His solo CDs, (a double cd of the Goldberg Variations of Bach and Rzewski¡¯s The People United Will Never Be Defeated and a CD of works written for him by Takahashi, Buckinx and Wolff) are on the Wooden Fish label.
   Schultz¡¯s musical studies were with John Perry, Leonard Stein and Philip Lillestol. He has been a member of the piano faculty at Stanford University since 1994.

Å丶½º ½¶Ã÷, ÇǾƳë

* ¿Àºí¸° Äܼ­¹ÙÅ丮 - Á¸ Æ丮 ±³¼ö »ç»ç.
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* »÷ÇÁ¶õ½Ã½ºÄÚÀÇ ¡®¾Æ´õ¸¶ÀÎÁîÆ佺Ƽ¹ß¡¯, ºñ¿£³ªÀÇ ¡®½¨º£¸£±×Æ佺Ƽ¹ß¡¯, »êŸũ·çÁîÀÇ ¡®¹ÂÁ÷ ÀÎ ¿¡ÀÌÇÁ·²¡¯, ·Î½º¿£Á©·¹½ºÀÇ ¡®ÇǾƳ뽺ÇǾîÁ, ¡®ÀüÁÖ¼¼°è¼Ò¸®ÃàÁ¦¡¯, »õÅ©¶ó¸àÅäÀÇ ¡®¹Ì±¹ÀÇ Çö´ëÀ½¾ÇÃàÁ¦¡¯ µî ¿©·¯ Æ佺Ƽ¹ß¿¡¼­ ÃÊ´ë¹Þ¾Æ ¿¬ÁÖ.
* 2004³â ÀÌÈÄ Ä«³×±âÀÇ ¿ÍÀϸ®»çÀÌƲȦ¿¡¼­ 6ȸÀÇ µ¶ÁÖȸ °³ÃÖ
* MTAC(¹Ì±¹ À½¾Ç±³»çÇùȸ) ÄáÄð¿¡¼­ ½¶Ã÷ÀÇ ¸¹Àº Á¦ÀÚµéÀÌ Ä¶¸®Æ÷´Ï¾Æ Àüü 1µî»ó ¼ö»ó.
* 1994³âºÎÅÍ ÇöÀç±îÁö ½ºÅÄÆ÷µå´ëÇб³ À½¾Ç´ëÇб³¿¡¼­ ÈÄÇÐ ¾ç¼º.
* ´º ¿ùµå ·¹ÄÚµå»ç µî ¿©·¯ À½¹Ý»ç¿¡¼­ Ãâ¹Ý
Shoko Hikage began playing koto at the age of three. Her first teacher was Chizuga Kimura of the Ikuta-ryu Sokyoku Seigen Kai in Akita Prefecture, Japan. From 1985, she received special training from the 2nd and 3rd IEMOTO Seiga Adachi (hereditary head master of the Ikuta-ryu Sokyoku Seigen Kai). In 1988, Hikage graduated from Takasaki College with a major in koto music. She was then accepted as a special research student (uchideshi) at the Sawai Sokyoku In(Sawai Koto Institute) under Tadao and Kazue Sawai, where she received her master¡¯s certificate (kyoshi). Hikage also completed a one-year intensive seminar at the Sawai Sokyoku In. In 1992, she moved to Honolulu, Hawaii to teach koto at the  Sawai Kotot Kai Hawaii (Sawai Koto Institute Hawaii branch) and at the University of Hawaii. In 1997, she moved to San Francisco where she continues her concert and teaching activities.
   Hikage premiered Hyo-shin Na¡¯s ¡°Crazy Horse¡± for Korean Traditional Orchestra and Koto Solo with the National Orchestra of Traditional Instruments in Seoul, Korea in November, 2011. In the Bay Area, she also premiered Hyo-shin Na¡¯s ¡° Night Procession of the Hundred Demons¡±, ¡°Koto Music¡± and ¡°Koto Ninano¡±. In 2014, Hikage gave a solo recital with a program devoted to Hyo-shin Na¡¯s music for koto/bass koto at Buam Arts Hall in Seoul, Korea. The second CD of her playing of Na¡¯s music will be on the Top Arts Label in the fall of 2014.
¼îÄÚ È÷Ä«°Ô, °íÅä & º£À̽º °íÅä

¼îÄÚ È÷Ä«°Ô´Â ¼¼ »ìÀÌ µÇ´ø ÇØ¿¡ ÀϺ» ¾ÆŰŸ Çö¿¡ ÀÖ´Â ÀÌÄíŸ Çб³¿¡¼­ °íÅ並 ¹è¿ì±â ½ÃÀÛÇß´Ù. È÷Ä«°Ô´Â 1988³â Ÿī»çÅ°¿¡¼­ °íÅä À½¾Ç ÇÐÀ§¸¦ ¹ÞÀº ÈÄ, Ÿ´Ù¿À »ç¿ÍÀÌ¿Í Ä«ÁÖ¿¡ »ç¿ÍÀÌÀÇ Á¦ÀÚ°¡ µÇ¾ú°í »ç¿ÍÀÌ °íÅä ¾ÆÄ«µ¥¹Ì¿¡¼­ ÁýÁß ÄÚ½º¸¦ ¸¶ÃÆ´Ù. 1992³â, È÷Ä«°Ô´Â »ç¿ÍÀÌ °íÅä ¾ÆÄ«µ¥¹Ì ÇÏ¿ÍÀÌ ÁöºÎ¿Í ÇÏ¿ÍÀÌ ´ëÇп¡¼­ °íÅ並 °¡¸£Ä¡±â À§ÇØ È£³î·ê·ç·Î ÀÌÁÖÇß´Ù. È£³î·ê·ç ¿¹¼úÀÇ Àü´ç¿¡¼­ °³ÃÖµÈ ¡°New Music Across America¡± ½Ã¸®Áî¿¡¼­ ¹Ì±¹¿¡¼­ÀÇ Ã¹ µ¶ÁÖȸ¸¦ Çß´Ù. 1997³â, »÷ÇÁ¶õ½Ã½ºÄÚ·Î ÀÌÁÖÇÏ¿© ÇöÀç±îÁö »÷ÇÁ¶õ½Ã½ºÄÚ¿¡¼­ ÁïÈï ´í½º¿Í ¿¬ÁÖ¸¦ ÇÏ°í ÀÖ´Ù. Ȳº´±âÀÇ ¡®Ä§Ç⹫¡¯¸¦ °íÅä µ¶ÁÖ°î°ú °íÅä »ïÁßÁÖ·Î ¹öÀüÀ» ¸¸µé¾î¼­ ¿©·¯ ¹ø ¿¬ÁÖÇß°í, 2011³â¿¡´Â ³ªÈ¿½ÅÀÇ ±¤¸¶(ÎÊØ©)¸¦ ±¹¸³±¹¾Ç°üÇö¾Ç´Ü°ú Çù¿¬Çß´Ù. ¼îÄÚ È÷Ä«°Ô´Â »÷ÇÁ¶õ½Ã½ºÄÚÀÇ ¿ìµçÇǽ¬¾Ó»óºíÀÇ ÁÖ¿ä ¸â¹öÀÌ´Ù.
You Jin Sung began playing the kayageum at age 12 and graduated from Gukak National High School. She studied at Korea National University of the Arts and finished the Korean Traditional Arts program there. She has performed with the Korean chamber groups Jeong Ga Ak Heo and Gomool. Her recent performances have been mostly of contemporary music. She is planning a kayageum duo project and is now performing with the AsianArt ensemble in Berlin.
¼ºÀ¯Áø, °¡¾ß±Ý

12¼¼¿¡ °¡¾ß±ÝÀ» ½ÃÀÛÇÏ¿© ±¹¸³±¹¾Ç°íµîÇб³¸¦ Á¹¾÷Çß°í, ±¹¸³Çѱ¹¿¹¼úÁ¾ÇÕÇб³ ¿¹¼ú»ç¿Í ¿¹¼úÀü¹®»ç¿¡ ¸ðµÎ ¼ö¼®À¸·Î ÀÔÇÐÇÏ¿´À¸¸ç, ¿¹¼úÀü¹®»ç °úÁ¤À» ¼ö·áÇÏ¿´´Ù. ¼ºÀ¯ÁøÀº Á¤°¡¾Çȸ¿Í °í¹°(2007-2009) µîÀÇ ½Ç³»¾Ç´Ü¿¡¼­ È°µ¿Çß´Ù. 2010³âºÎÅÍ´Â µ¶ÁÖÀڷμ­ÀÇ È°µ¿À» ´õ ¸¹ÀÌ ÇØ¿À°í Àִµ¥, °í¾Çº¸ÀÇ ÀçÇö, âÀÛ ±¹¾Ç, ¿©·¯ ÀÛ°î°¡ÀÇ ÀÛÇ° ¿¬ÁÖ ¹× ¿¬±Ø, ¹ÂÁöÄà À½¾Ç µî ´Ù¾çÇÑ À½¾ÇÀÛ¾÷À» ÇÏ¸ç °æÇèÀ» ½×¾Ò´Ù. 2012³âºÎÅÍ´Â µ¶ÀÏ°ú Çѱ¹À» ¿À°¡¸ç È°µ¿ÇÏ¿´´Ù. µ¶ÀÏ¿¡¼­´Â Çö´ëÀ½¾Ç Áß½ÉÀÇ °ø¿¬µé°ú ÀüÅëÀ½¾Ç ·ºÃÄ Äܼ­Æ® Áß½ÉÀ¸·Î È°µ¿À» ¸¹ÀÌ ÇÏ¿´°í, Çѱ¹¿¡¼­´Â ÀüÅëÀ½¾Ç°ú ÀüÅëÀ» ±â¹ÝÀ¸·Î ÇÑ Ã¢ÀÛÀ½¾Ç °ø¿¬ ¹× »õ·Î¿î ÇüÅÂÀÇ ½ÇÇèÀûÀÎ À½¾Ç±Ø µî ¿©·¯ ¹æ¸é¿¡ ½ÃµµÇÏ´Â ¸ð½ÀÀ» º¸¿©ÁÖ°í ÀÖ´Ù. ÇöÀç´Â µ¶ÁÖÀڷμ­ÀÇ È°µ¿ ¿Ü¿¡ Çѱ¹¿¡¼­ <°¡¾ß±Ý µà¿À ÇÁ·ÎÁ§Æ®>¸¦ ±¸»óÇÏ°í ÀÖÀ¸¸ç, ÀÌÈÄ µ¶ÀÏ º£¸¦¸°¿¡¼­ °ú ÇÔ²² ¿©·¯ °ø¿¬µéÀ» ¿¬ÁÖÇÒ °èȹÀ» °®°í ÀÖ´Ù.

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