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Cultural and Political Overtones in Isang Yun's Works for Piano: Jin

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Cultural and Political Overtones in Isang Yun's Works for Piano: Jin Cultural and Political Overtones in Isang Yun’s Works for Piano: Understanding Multiple Identity through Performance of Fünf Stücke für Klavier (1958), Duo für Viola und Klavier (1976), and Interludium A (1982) Jin Hyung Lim PhD University of York Music August 2019 2 3 Abstract Isang Yun (1917–95) composed over 150 works, ranging from solo pieces and chamber music to orchestral works, including five symphonies and four operas. Following his upbringing in Korea and musical education in Japan and France, he spent the second half of his life in Germany. Having lived through the two wars that afflicted Korea in the twentieth century, followed by the intense hostility that accompanied the continued division of Korea, his life both in the East and in the West was extremely turbulent. His encounters with the new ideas and experimental sounds of the European avant-garde at the Darmstadt Summer Courses for New Music in 1958 and 1959 led to the development of a complex musical identity that combined these influences with other cultural aesthetics, including his Korean musical heritage and Eastern philosophy. This thesis examines Yun’s only two solo piano works, Fünf Stücke für Klavier (1958) and Interludium A (1982), and an additional chamber work, Duo für Viola und Klavier (1976), presenting performances and recordings alongside critical discussion. Drawing together research on Yun, theoretical research into questions of identity and performance research, I examine three issues: Yun’s diasporic identity, formed through his diverse social and cultural experience; his political identity, formed partly in response to the East Berlin Spy Incident (1967–69); and the musical manifestations of these identities. The aim is to show both how practice yields specific forms of understanding, and conversely how forms of analysis and critical study inform performance. I argue that a musical performance is a personal, social, political, and cultural act – the embodiment of the performer’s multiple identities. 4 Table of Contents Abstract .................................................................................................................... 3 Table of Contents ...................................................................................................... 4 List of Audio-Visual Items .......................................................................................... 7 Acknowledgements ................................................................................................. 11 Author’s Declaration ............................................................................................... 12 Chapter 1: Introduction ........................................................................................... 13 Aims and Repertoire .................................................................................................. 14 Literature Review: Previous Research on Isang Yun and Relevant Recordings ......... 18 Chapter 2: Identity .................................................................................................. 25 Social Identity ............................................................................................................ 25 Identity as Difference ......................................................................................................... 26 Identity as Personal and Social .......................................................................................... 27 Identity as a Process .......................................................................................................... 29 Identity as Narrative .......................................................................................................... 33 Diasporic Identity ...................................................................................................... 35 My Diasporic Identity ......................................................................................................... 38 Isang Yun’s Life and His Diasporic Identity ................................................................ 42 In Korea (1917–1956) ........................................................................................................ 42 In Europe (1956–1995) ...................................................................................................... 45 Diasporic Identity and Fünf Stücke für Klavier (1957) ............................................... 52 Movement 1. Adagio, grazioso – Andante ........................................................................ 55 Movement 2. Andantino .................................................................................................... 60 Movement 3. Allegro moderato – Poco Andante – Tempo I .............................................. 66 Movement 4. Allegro – Moderato – Allegro – Moderato – Allegro ................................... 71 Movement 5. Allegretto – Andante – Allegretto ............................................................... 73 Chapter 3: Music and Political Identity .................................................................... 78 Politics ....................................................................................................................... 78 Identity Politics and Political Identity ................................................................................ 80 Composing Music and Political Identity ............................................................................. 82 The Artistic and the Political: Darmstadt ........................................................................... 88 Yun’s Political Identity, Musik Im Exil ........................................................................ 93 Nono and Yun’s Socially Conscious Music .......................................................................... 97 Political Identity and Interludium A (1982) .............................................................. 103 5 ‘A’ as a Political Message ................................................................................................. 104 Part I: (Outer) Imprisoned Life? ........................................................................................ 110 Part II: Yun’s Inner Self in Prison? ..................................................................................... 114 Part III: The Present, Overcoming His Trauma? ................................................................ 117 Interludium A (1982) as Fantasy .............................................................................. 122 Chapter 4: Is Music Socially Determined? ............................................................... 126 Music and Its Social Relation ................................................................................... 127 Identity Performance and Performing Identity ........................................................ 134 Chapter 5: Music and Cultural Identity ................................................................... 139 Raymond Williams and the Meaning of Culture ...................................................... 140 Cultural Identity ....................................................................................................... 144 Music as Culture: Music as People; Music as Place .......................................................... 146 Chapter 6: The Hauptton Technique I ..................................................................... 150 Introduction ............................................................................................................. 150 The Hauptton Technique ......................................................................................... 155 East Asian Philosophy: Taoism and the Single-Tone Technique .............................. 161 The Concept of Traditional Korean Music ................................................................ 166 The Characteristics of Traditional Korean Music ..................................................... 168 Harmony ........................................................................................................................... 175 Dynamism ........................................................................................................................ 178 Curvilinear Flow ................................................................................................................ 179 Open Form ........................................................................................................................ 181 Negative Space: ‘When Less is More’ ............................................................................... 184 The Ethical Dimension ...................................................................................................... 192 Chapter 7: The Hauptton Technique II .................................................................... 195 Western Influence: Avant-garde Composers and the Central-Tone Technique ...... 195 György Ligeti, Lux Aeterna (1966) .................................................................................... 196 Luciano Berio (1925–2003), Sequenza VII per oboe solo (1969) ...................................... 202 Witold Lutosławski (1913–1994), Epitaph for Oboe and Piano (1979) ............................ 205 The Hauptton Technique as Performative Identity ................................................. 209 Cultural Identity and Duo für Viola und Klavier (1976) ............................................ 212 Part I with the Introduction
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