LETTER FROM THE DEAN

On behalf of the UC Santa Cruz Arts Division, it is my sincere joy and honor to welcome you to the 2017 Pacific Rim Music Festival (PRMF)! The PRMF has a tradition of more than 20 years, and this year’s program is the most ambitious yet. I am humbled that we are bringing together the most prestigious ensembles from the United States and Korea to perform 40 new works by award-winning composers.

The PRMF represents a historically unprecedented collaboration between Korean and Western large-scale orchestras and ensembles and Western and international composers, with compositions performed with traditional Korean and Western instruments. This festival is an opportunity to embrace traditions outside of our own, and to take in the richness that the sharing of ideas and art in its many forms brings to all of our lives.

This festival is a reflection of the exceptional creativity that is a hallmark of the UC Santa Cruz Music Department and our commitment to bringing world music in its rich diversity to our students, to UC Santa Cruz, and to our community. I could not be more proud of this festival, and it is my sincere privilege to welcome all of our distinguished artists to UC Santa Cruz.

I would like to thank Professor Hi Kyung Kim for her vision, her extraordinary scholarship and artistry, and her commitment to excellence in all aspects of this festival.

Finally, I would like to thank all of you, our audience, for being part of this incredible festival.

Susan Solt Dean of the Arts Division Distinguished Professor, Theater Arts University of California, Santa Cruz

2 LETTER FROM THE ARTISTIC DIRECTOR

It is our privilege to present the Pacific Rim Music Festival 2017, Festival of Orchestra and Chamber Music with indigenous Traditional Korean Music. The theme of the Festival is FROM THE ROOT TO THE LIVING TRADITION.

Pacific Rim Music Festival (PRMF) began in 1996 with the vision of building a cultural bridge, and to create a new musical tradition of the global culture today. Over the last 21 years, the Festival has promoted international collaborative projects and has presented 120 world premiere compositions.

Through the Gayageum Festival in 2007 and collaborative chamber music projects at the PRMF 2010 with Contemporary Music Ensemble Korea and American Chamber Music Ensembles, Festival projects deepened and broadened their focus and influenced different generations and communities all over the world.

PRMF 2017 chamber music programs grew from our previous Festival projects. New compositions by distinguished composers and graduate students from collaborating institutions will be premiered by world’s finest western ensembles, such as Borromeo String Quartet and New York New Music Ensemble in collaboration with National Gugak Center Chamber Ensemble and Festival Ensemble Korea.

This year’s Festival also features a special collaboration with the Creative Traditional Orchestra at the National Gugak Center of Korea (NGC). The idea was conceived in 2014 when I resided in Korea as a Fulbright scholar. I shared the vision of the collaborative orchestra project with the Director-General KIM Hae-suk of the National Gugak Center: a world premiere program by several American composers written for the Korean Traditional Orchestra. This historical presentation at PRMF would be the first time NGC presented such a premiere program outside of Korea.

Composers travelled to Korea for workshops, research on traditional music, and a preview concert of their draft music. This Festival presentation is the result of more than two year’s of intensive effort by the participants.

The orchestra will also perform music by two creators from New York Philharmonic’s Very Young Composers program.

I extend my sincere gratitude to Director-General KIM Hae-suk for her strong belief in this collaborative Festival project, and to the members of the National Gugak Center of Korea. Our deep appreciation goes to Susan Solt, Dean of the Arts and Dard Neuman, Chair of the Music Department for their enthusiastic support, and to all members of the Arts Division and the Music Department at the University of California, Santa Cruz.

The historic appearance of the NGC Creative Traditional Orchestra is, in part, through the generous support by the Ministry of Culture, Sports and Tourism of the Republic of Korea.

Thank you for attending our events and we hope you will enjoy the fruits of our work.

Hi Kyung Kim Founder/ Artistic Director Pacific Rim Music Festival 3 LETTER FROM NATIONAL GUGAK CENTER OF KOREA DIRECTOR-GENERAL

Hello, I am KIM Hae-suk, the Director-General of the National Gugak Center of Korea.

The National Gugak Center is a national institute established to represent Korea’s traditional music. Founded in the 16th century as a royal music academy of the Shilla dynasty, the center continues to carry on the legacy of Korea’s performing arts.

It brings me great pleasure to be holding this year’s Pacific Rim Music Festival, a historic celebration of contemporary music in collaboration with the University of California, Santa Cruz. We are celebrating not only Korea’s ancient traditional arts, but also new chamber and orchestral music, created by international composers over the past two years. A testimony to international collaboration and innovation, our Creative Traditional Orchestra will present the first ever concert of all world premiere performances of music composed for Korean traditional orchestra by one Korean and six American composers. Their performance will help you understand how earnestly we have prepared for this festival.

The process of understanding other cultures with a different language and customs is a gradual one that requires time. Becoming a member of the global community means to invest the effort, understanding, and time required for this process. Today we will be creating a vision of the world’s cultures becoming one through the power of art, as composers from around the globe voice their musical worlds through traditional Korean instruments. It is my sincere wish that as artists we will continue to foster this meeting of different musical voices in order to create a brighter future for art around the world.

The festival would have been impossible without the tireless efforts of Professor Hi Kyung Kim at UC Santa Cruz over the past twenty years. I would like to express my deep gratitude and respect for Professor Kim, who has served as the artistic director of the Pacific Rim Music Festival since 1996. I would also like to thank everyone at UC Santa Cruz, the composers who have worked on these important compositions for over two years, the Creative Traditional Orchestra of the National Gugak Center, the stage producers who have prepared today’s superb performance, and last but not least our conductor, Chung Chi-young.

Thank you again for your continued interest and support of music around the world.

Director-General KIM Hae-suk National Gugak Center, Republic of Korea October 25, 2017

4 PAGE TITLE Opening Concert: FROM THE ROOT Traditional Court Music, Folk Music and Dance Creative Traditional Orchestra of the National Gugak Center, Korea Wednesday, October 25, 7:30 PM Music Center Recital Hall

PROGRAM

Sujecheon: 수제천 Yanggeum: JEON Myeong-seon Ajaeng: LEE Hwa-yeon Creative Traditional Orchestra of the Janggu: AN Hye-ryeong Janggu: YANG Jae-chun National Gugak Center *Jipbak: PARK Chi-wan Samulnori - Samdogarak Sarangga in pansori Chunhyangga: (“Melody of the Three Provinces”): 춘향가 中 ‘사랑가’ Geomungo Sanjo (Han Gab-deuk 사물놀이 ‘삼도가락’ Pansori Singer: HEO Jung-seung style): 한갑득류 거문고 산조 National Gugak Center Samulnori Buk: HWANG Yeong-nam Geomungo: KIM Jun-yeong Kkwaenggwari: NAM Ki-moon Janggu: SEO Su-bok Janggu: KIM Su-yong Pyeongjohoesang – Danhoesang: Buk: LEE Dae-won 평조회상 ‘단회상’ Gagok, Taepyeongga: 가곡, 태평가 Jing: KANG Byung-hyeok Creative Traditional Orchestra of the Singers: LEE Jeong-kyu, Lee Jun-ah National Gugak Center INTERMISSION Jipbak: PARK Chi-wan Daegeum: KIM Jeong-su Danso: LEE Myung-hun Seungmu (LEE Mae-bang style): *Jipbak: Conductor’s role Piri: AN Eun-kyeong 이매방류 승무 Gayageum: LIM Eun-jeong Dancer: CHOI Byeong-jae This program will be presented by Geomungo: PARK Yeong-seung Piri: LEE Seung-heon, HWANG Se-won Cal Performances at Zellerbach Hall at Haegeum: KIM Jun-hee Daegeum: RYU Geun-hwa the University of California, Berkeley, Haegeum: LEE So-ra on Saturday, October 28, 8:00 PM. ABOUT NATIONAL GUGAK CENTER

Tradition and the National Gugak Center: rigorously planned to achieve the sincerity of tradition that lives on among the people. the National Gugak Center (NGC) is the commonly recognized cradle and home The NGC is always engaged in activities angled toward of Korean musical traditions. citizens without pandering to populism or obstinately sticking to traditional fundamentalism. Based upon these However, the sincerity of tradition is not principles, the NGC has laid out its goal for the year— recognized through complacent claims like “Creating Happy Daily Life with Gugak”—as an expression of its will to be an institution that goes along with the “This is a tradition,” “Tradition is pure,” times and society in order for traditional Korean music and “Ours is precious.” to take root in the daily lives of Koreans, in addition to fulfilling the institution’s role of preserving and developing Korean arts. To achieve this goal, the NGC has specifically For ideologies of tradition to be accepted as common manifested these policies: bolstering the performance convictions and artistic truths, they must stand the test competitiveness of gugak; activating the transmission of of time, society, and history. In other words, sincerity of gugak; expanding the opportunities for the public to enjoy tradition can only be a reasonable value when it is gugak; and expanding gugak hallyu (cultural wave) approved by the citizenry. overseas. These are in keeping with conditions for national

What does it mean, then, for tradition to stay with the citizens, to be verified and recognized by them? There are two pitfalls here: the first consists in altering traditions to cater to the public, and the second is a kind of funda- mentalism that insists on preserving tradition in the belief that it is the root and the right thing. To alter traditions so as to cater to public taste could amount to the self- acknowledgment that traditions are no longer relevant to the current society rather than having traditions approved by citizens; and the adamant attitude to preserve traditions could treat citizens as objects of edification rather than recognizing them as proactive agents. Only by overcoming these misconceptions and working with people can sincerity of tradition be achieved. For traditions to exist alongside citizens means that the two interactively take the lead, rather than one side leading the other.

Since its establishment in 1951, the National Gugak Center has accomplished a great deal as an institution that represents Korean traditions. The NGC has undertaken the historic responsibility for collecting the remains of traditional culture from the rubble of the Korean War, mustering the strength to preserve and continue traditions that were neglected in the process of industrialization, and leading the Korean people to consider the artistic rather than commercial values of traditions during the age of acute capitalism. The NGC’s ever-changing direction is

6 happiness defined by our times, such as “performance,” eled on old Korean gardens and a sound-reflecting board “transmission,” “wider accessibility,” and “active proliferation.” patterned after the Korean bangpae kite. In 2013, Yeonhui- pungnyu (“dramatic entertainment and enjoyment”) The NGC currently has four performing groups—Court Theater opened, expanding the NGC’s scope. Yeonhui Music Orchestra, Folk Music Group, Contemporary Gugak Madang, the theater’s open-air stage, has 1300 seats for Orchestra, and Dance Theatre—which are making constant outdoor performances, such as Nongak (farmers’ music) efforts to achieve the “sincerity of tradition” through creat- and Tallori (mask dramas), while Pungnyu Sarangbang, ing arts that live alongside the contemporary society, while an indoor chamber hall with 130 seats, is specifically pursuing artistic perfection in their own respective ways. designed for intimate performances.

The NGC moved to its current Seochodong location in The fact that the NGC has such a wide range of perfor- 1987, after previous locations in Unni-dong and Jangc- mance venues testifies to the diversity of audiences and hung-dong. It started out as a small theater of 300 seats to the expanded production and consumption of various (what is now Umyeon Hall), then the 800-seat Yeak Hall in gugak genres. In addition, the NGC has the nation’s only 1996. The two halls are still the two most favored venues museum for gugak, and a training center that offers educa- for all gugak musicians. Umyeon Hall hosts a wide range of tional programs. The NGC is thus conducting a variety of performances, from solos to orchestras, while Yeak Hall, as programs for gugak, from performance to education, for the main performance venue of the NGC, has a stage mod- and among the citizens.

7 ABOUT THE PROGRAM OPENING Concert: FROM THE ROOT

Sujecheon – 수제천 INTERMISSION Sujecheon, one of the most representative court ceremonial pieces of Korea, was originally called Jeongeup. Not only Seungmu (Lee Mae-bang style) – 이매방류 승무 is the tempo of the music slow, but its rhythms are very Seungmu, an artistic dance performed by a professional irregular. The melody moves in a unique structure called dancer, is designated as Important Intangible Cultural Yeoneum, meaning “continuous melodic form.” When the Property No. 27. A dancer, wearing white, long-sleeved melody played by the piri is absent, other instruments monk’s clothes and cone-shaped hat, performs peacefully such as the daegeum, haegeum, sogeum, and ajaeng and sometimes dynamically as if she or he has been begin variations of the main melody. In the 19th century, cleansed of misdeeds and has attained nirvana. A it was performed when the king left his palace, but today six-musician wind ensemble accompanies the dance. it accompanies the Cheoyongmu dance and is also performed on its own as an instrumental work. Sarangga in pansori Chunhyangga – 춘향가 中 ‘사랑가’ Geomungo Sanjo (Han Gab-deuk style) Pansori is the most representative Korean folk vocal music, – 한갑득류 거문고 산조 which has been formed and developed since in the 18th The geomungo is a six-stringed zither with frets, played century. The traditional repertoire includes the Songs of with a bamboo stick. Sanjo is a folk music genre in which Chunhyang, Simcheong, Heungbo, and the Songs of the a solo instrument plays a dynamic melody accompanied Undersea Palace and Red Cliff. However, songs with new by an hourglass drum or a barrel drum. Sanjo music is stories are still being created. Pansori was designated as most often performed in pieces ranging from ten minutes Important Intangible Cultural Property No. 5 and listed in to an hour. It begins with a very slow tempo and gradually UNESCO’s Intangible Cultural Heritage List in 2003. speeds up to faster rhythms. Along with this sectional structure, sanjo music has been developed in various Sarangga is the most important and well-known piece of modes and scales. the pansori genre. Sarangga was sung by many professional singers and thus diverse styles have been transmitted Gagok, Taepyeongga – 가곡, 태평가 to the present. Generally, the song proceeds from the Taepyeongga is the last song of gagok, which is a collection slow Gin Sarangga to the fast Jajin Sarangga and depicts of songs beginning with Chosudaeyeop. In gagok, the diverse aspects of love. male and female singers take turns singing until the last song, when they eventually sing together. It is the grand Pyeongjohoesang - Danhoesang finale of the entire gagok. This song features a contrast – 평조회상‘단회상’ between the energetic male voice and the sophisticated Pyeongjohoesang is one of the versions of Yeongsanhoesang, and delicate voice of the female singer. This piece shows performed by louder instrumentation. In Pyeongjohoesang, the structure of a full gagok cycle, beginning with a slow the melody is transposed down a fourth from the first tempo, followed by various song styles of nong, nak, version of Yeongsanhoesang. Pyeongjohoesang thus and pyeon, and then returning to the original style. The produces a more profound and peaceful effect. The work lyrics celebrate living in a prosperous age. is performed by strings and winds, including geomungo, gayageum, hyangpiri, daegeum, dangjeok, haegeum, Samulnori – “Melody of the Three Provinces ajaeng, janggu, and jwago. The forces here are greater (Samdogarak)” - 사물놀이 ‘삼도가락’ than in the original suite, and the impression louder The percussion quartet Samulnori is composed of the and more vigorous. Pyeongjohoesang is also performed kkwaenggwari (small gong), janggu (hourglass drum), as accompaniment for the court dance Chunaengjeon buk (barrel drum), and jing (large gong). The genre of (“Dance of Chunaeng”). Yuchosinjigok is another name pungmulnori, historically a folk art form practiced by for the work, meaning “music of a fresh willow in farmers, was brought indoors as a simplified percussion early spring.” quartet in 1978. Since then it has received worldwide recognition, becoming an important symbol of Korean music. 8 PAGE TITLE Premiere Concert I: INTO BLOSSOMING Borromeo String Quartet National Gugak Center Chamber Ensemble Festival Ensemble Korea Thursday, October 26, 7:30 PM Music Center Recital Hall

PROGRAM INTERMISSION National Gugak Center Chamber Ensemble Gayageum: SEO Eun-yeong Prelude and Fugue in c# minor, Naseon* II Geomungo: SEO Jeong-gon BWV 849 Cindy Cox Ajaeng: BAE Mun-kyung from the Well-Tempered Clavier Book I Gayageum, Geomungo, Ajaeng Saenghwang: KIM Bo-mi Johann Sebastian Bach National Gugak Center Chamber Ensemble Daegeum: LEE Pil-gi Arranged for string quartet by Nicholas Kitchen Night Time Festival Ensemble Korea Sebastian Currier Gayageum: JI Aeri, SONG Jung-min Naseon* I Harp, Violin Haegeum: Soo-yeon Lyuh Cindy Cox Ajaeng: KIM Yejina Haegeum, Soo-yeon Lyuh Nonghyun* Theodore Wiprud Borromeo String Quartet the right to be forgotten* 12-string Gayageum, String Quartet Nicholas Kitchen: Violin Kurt Rohde JI Aeri, Gayageum Kristopher Tong: Violin String Quartet, Harp, Saenghwang Ken Hamao: Viola Defunctis* Yeesun Kim: Cello Burn** LEE Young-ja Vedran Mehinovic Daegeum, Viola, Harp Guest artists Kim Yejina, Ajaeng Harp: June Han Isles of Light Flute: Stacey Pelinka Sextet for Six Friends Hi Kyung Kim Oboe: Kyle Bruckmann Andrew Imbrie String Quartet, Percussion Clarinet: John Sackett Flute, Oboe, Clarinet, Violin, Viola, Cello Percussion: Darren Lin * World Premiere, written for the Pacific Rim Music Festival Conductor: David Milnes ** U.S. Premiere ABOUT THE COMPOSERS Premiere Concert I: INTO BLOSSOMING

Cindy Cox creates music that is transparent Naseon is Korean for “spiral.” This piece is yet complex, both radical and traditional, in two parts, with the first an extended solo synthesizing old and new musical designs for the haegeum, and the second a trio for through linked strands of association, gayageum, geomungo, and ajaeng. timbral fluctuation, and cyclic temporal processes. The natural world, ecological I visited Seoul in the summer of 2015 as a processes, and the concept of emergence Fellow of the National Gugak Center. They inspire many of the special harmonies and gave a wonderful two-week workshop on textural colorations in her compositions. traditional Korean music, and the experiences continued over 2016 at UC Santa Cruz. I learned firsthand about the gayageum, geomungo, and ajaeng (all zithers, but played in completely different ways). In Berkeley, I worked with visiting Korean professor and haegeum virtuoso Soo-yeon Johann Sebastian Bach: Lyuh to develop the ideas and special play- Prelude and Fugue in c# minor, ing techniques for Naseon I. BWV 849 Bach wrote the Well-Tempered Clavier The piece is loosely based on the last Book I in 1722. Comprising 24 preludes and movement of my earlier violin work called fugues for keyboard instruments, the opus She has received awards and commissions Back to Square One. I thought that the uses every major and minor key within the from the American Academy of Arts and last movement, marked “wistful,” expressed octave in chromatically ascending order. Letters, the Fromm Foundation, the well the soulful quality of the haegeum. In If one thinks of the generations of great National Endowment for the Arts, the Naseon II the trio of instruments revolves composers joined together like branches of American Composers Forum, ASCAP, Meet around a central pitch, and becomes a tree — a Mozart branch and a Beethoven the Composer, and the Gemeinschaft der increasingly embellished as the piece pro- branch, a Bartók branch, etc. — it is Kunstlerinnen und Kunstfreunde Interna- gresses. The ajaeng plays two variations of reasonable to say that Bach’s Well-Tempered tional Competition for Women Composers. a Korean sanjo melody, surrounded by the Clavier is like a tap root of that tree. Robert She has been a Fellow at the Tanglewood ritualistic and rhythmic play of the gayage- Schumann called this work his “daily bread” and Aspen Festivals, the MacDowell Colony, um and the geomungo. and studied it repeatedly throughout his life, and the Civitella Ranieri and William Walton documenting in diaries and articles how his Foundations in Italy. Recent performances I want to particularly thank Professor study of Bach would directly inspire him to have taken place at Roulette in New York Hi Kyung Kim at UC Santa Cruz for her invent new ways of composing. Beethoven City, the Oriental Arts Center in Shanghai, tremendous efforts toward making this had mastered performing the Well-Tempered the Venice Biennale, the Festival de la performance possible. — C.C. Clavier by the time he was 12 years old, Habana in Cuba, the Center for New Music in and Mozart followed the advice of the great San Francisco, the American Academy in Kurt Rohde is a composer and violist intellectual van Swieten, transcribing many Rome, Carnegie and Merkin Halls in New based in the San Francisco Bay Area. Currently of the Well-Tempered fugues for string York, the National Gallery in Washington, a member and artistic advisor of the Left quartet. Inspired by van Swieten’s suggestion, the Library of Congress, the Kennedy Center, Coast Chamber Ensemble, he played with Nicholas Kitchen from the Borromeo the Biblioteca National in Buenos Aires, and the New Century Chamber Orchestra from Quartet has transcribed all of Book I for on the Los Angeles Philharmonic series. 1994 to 2014. His works have merited the string quartet. The prelude and fugue on There are three portrait recordings of Cox’s Rome Prize, the Berlin Prize, a Guggenheim this evening’s program is the one in c# chamber music, and her scores are Fellowship, the Lydian String Quartet Com- minor. The prelude has a poignant sadness published through World a Tuning Fork Press. mission Prize, and commission awards from with a rolling meter based on three beat A new recording of Cox’s string quartets by the Barlow, Fromm, Hanson, and Koussevitzky groups. The fugue starts quietly with a the Alexander Quartet was released in Foundations. He has received the Arts and serious four-note theme. More energetic October 2015 on the Naxos label. Letters Award from the American Academy material is brought in gradually alongside of Arts and Letters, and was a Fellow at the the slower theme, and this combined Naseon (2016) – I. Haegeum; II. Gayageum, Radcliffe Institute for Advanced Studies. intensity slowly builds, eventually resulting Geomungo, Ajaeng Rohde is a Professor of Music Composition in music of unforgettable grandeur. — N.K. at the University of California, Davis. A graduate of the Curtis Institute of Music, the

10 allowed to evaporate. The opening need metaphorical union of powerful elements, not be so deeply remembered and impact and presents the musician in an almost sha- musical events later on, or if it does, parts of manic way. Different approaches to vibra- it can be forgotten. It could be part of a more tion are also important in the work, nearly spontaneous drama that unfolds, significant always precisely notated. They contribute at the moment, but not lingering to affect all to the sonic manifestation of fire dancing that follows. —K.R. on the instrument, the player’s energy and pressure igniting waves of shimmering, unpredictable spectra. The experience, like Peabody Institute of Music, and SUNY Stony the event which partly inspired it, becomes Brook, he enjoys triple IPAs, long distance a metasonic ritual. — V.M. running, Philip K. Dick, and nearly any recently released movie. the right to be forgotten (2017) is a single-movement work for saengwhang, harp, and string quartet. The concept of the right to be forgotten states that events of one’s past that are no longer relevant in the present should be allowed to fall away so as not to carry excessive burden into one’s present existence. This is especially problematic given the depth and longevity of our digital archive, which Vedran Mehinovic was born in Sarajevo, is so easily accessible and searchable. In Bosnia and Herzegovina. A gifted pianist its purest, most reductionist application, from an early age, he and his musical family the traumatized and rehabilitated can helped maintain the artistic life of the city move forward without their past lives during the Bosnian War. Mehinovic received Andrew Imbrie ranks high among returning to haunt or impede them. his Bachelor’s and Master’s degrees in the composers of his generation for the Composition from New England Conserva- distinguishing individuality, independence, It is a distilled, simplified understanding tory, and a doctorate from the University of and high craft evident throughout a large of the concept of “leaving that which has California, Santa Cruz. In 2007, his piece RA corpus of works in all the traditional genres. happened behind to fall away” that fascinates was selected as one of just three orchestral me. Perhaps the application of this works to be performed during the Gaudeamus Mr. Imbrie was born in New York City in “forgetting” to the events in people’s lives Music Week in Amsterdam, and had won 1921, and educated at Princeton University. could be the mechanism by which a piece an Honorable Mention at the week’s end. He developed great skill and fluency at the of music unfolds. On its surface, forgetting An enthusiast of world arts, Mehinovic has keyboard through early training as a pianist, seems to contradict the underlying prin- organized concerts of Korean, Hindustani, but composition supplanted piano as a career ciple that music is connected with acts of Uyghur, and Chinese music in Boston. He aspiration after a summer studying with memory. My question becomes: is forgetting participated in the Pacific Rim Music Nadia Boulanger in Fontainebleau, France. necessary for memory? Or must everything Festival 2010, which took place in multiple Roger Sessions was his major teacher be remembered, even if it is not recalled international locations and featured over 30 and inspiration both during his Princeton fully or correctly, or is blended with other new compositions for Korean and Western years and later at University of California, memories real or false, or simply undergoes instruments. Mehinovic’s works have been Berkeley, where he earned his Master of Arts the transformation that happens with performed in Bosnia, Croatia, Switzerland, degree. In 1947, his senior thesis at each act of recollection? France, Portugal, the Netherlands, Japan, Princeton was awarded the New York Critics’ Korea, and the United States. Award and recorded by the Juilliard Quartet. Perhaps a new beginning could emerge in the middle, or even at the end of the piece. Burn (2014/2017) is partially based Mr. Imbrie joined the faculty of the UC Berkeley Perhaps a “musical catastrophe,” instead of on the image of Jimi Hendrix setting his Music Department in 1949, teaching there becoming fixed in place by a narrow applica- Stratocaster alight at the Monterey Pop until his retirement in 1991. He also taught tion of structural function, could simply be Festival. The captured moment contains a at the San Francisco Conservatory of Music,

11 ABOUT THE COMPOSERS Premiere Concert I: INTO BLOSSOMING at Brandeis University and after 1991, at the last, the violin returns to the beginning of conducted by Ludovic Morlot, and will be Universities of Chicago, Alabama, British the original tune and joins the others in a performed by the Boston Symphony both Columbia, at Harvard, New York, and North- cadence that involves everyone. in Boston and New York, led by Andris Nel- western Universities, the Sand Point Music sons. He has also written works that involve Festival, and as composer-in-residence at In the last movement, various groups electronic media and video. Nightmaze is a the Tanglewood Music Center. He received and individuals are featured like soloists, multimedia piece based on a text of Thomas numerous awards and commissions from beginning with a flute solo, a statement by Bolt, in which the protagonist dreams he is major performing institutions and was a the strings, and an answer by the winds. rushing along a dark, enormous highway, member of the American Academy of Arts Gradually, individual instruments become where strange road signs loom up only to and Letters, the American Academy of Arts independent, joining suddenly in a chord disappear into the night. The work has been and Sciences, and the board of the followed by a sforzando. The texture performed by Network for New Music and Koussevitzky Foundation. He died in his alternates between individuality of the the Mosaic Ensemble. Berkeley home on December 5, 2007. instruments and rhythmic similarity. A truncated version of the insistent closing Night Time (1998) Andrew Imbrie’s music is unique and chord from the first and second movements The five short movements of Night Time individual, independent of any trend, ends the piece. — A.I. — Dusk, Sleepless, Vespers, Nightwind, current, or school, recognized by its very and Starlight — share a sense of quietude, personal, often passionate expressiveness. introversion, intimacy, and subdued — Adapted from Robert Commanday’s restlessness. The instrumental ensemble biography. of violin and harp immediately suggested to me a series of nocturnal moments, where Sextet for Six Friends (2006) was a sense of isolation, distance, and quiet commissioned by the Left Coast Chamber thoughtfulness would prevail throughout Ensemble with the generosity of the otherwise thematically contrasting move- Clarence E. Heller Foundation and the ments. From the distant murmuring sounds Zellerbach Family Fund, Sextet for Six in Dusk to the disquiet of the pizzicato osti- Friends derives its title from another piece, nato and muted chords in Sleepless, from Duet for Two Friends. In this case, I the contemplative lyricism of Vespers to the decided to use three woodwinds and three rushing passagework in Nightwind, and in strings. The first movement begins with a the hypnotic figurations of Starlight, there phrase on the clarinet, answered by the is an affinity with a phrase of a Wallace oboe, and completed by the flute. The Stevens poem I set in another work, strings then reply, rising and becoming Sebastian Currier is the recipient of Vocalissimus: “in the distances of sleep.” louder, answered by the woodwinds, and the prestigious Grawemeyer Award. Heralded The piece was written for Marie-Pierre then in turn by the strings. What follows is a as “music with a distinctive voice” by Langlamet, harpist of the Berlin Philharmonic, playful conversation between members of The New York Times and as “lyrical, colorful, and violinist Jean-Claude Velin. In 2000 it these two groups, with a forceful ending. firmly rooted in tradition, but absolutely was premiered at the Philharmonie new” by The Washington Post, his music in Berlin. —S.C. The second movement, at a slower tempo, has received performances by renowned begins with a melody in the violin ensembles at major venues worldwide. Theodore Wiprud is a composer who accompanied by the two other strings. The plays additional roles as educator, concert winds then reply and begin a conversation His work has been enthusiastically embraced presenter, and music executive. Born in between the two groups. However, this by violinist Anne-Sophie Mutter, for whom Washington, D.C., he currently resides in conversation soon becomes a texture in he wrote Time Machines, which she New York City and is the Vice President of which each individual player plays a part. premiered with the New York Philharmonic Education at the New York Philharmonic. The flute descends to the clarinet, which gets in June 2011, and subsequently performed His compositions are known for the impact lower and softer, until it gives a new version with various orchestras in the United States, they make on performers and audiences, of the original violin melody. The strings Europe, and Asia. He has also had an extended reflecting his interaction with both adult follow with a continuation of the melody, association with members of the Berlin and young listeners. Among recent works, which becomes a nervous texture on parallel Philharmonic, as well as the orchestra itself. Wiprud’s Violin Concerto (Katrina), minor triads, then picked up by the winds. composed for Ittai Shapira, has been released The following section is a series of gestures, Currier’s piece Divisions was recently with the Royal Liverpool Philharmonic on vaguely resembling previous ideas. At premiered by the Seattle Symphony, Champs Hill Records, to acclaim. His

12 Defunctis (2017) depicts the most devastating and heart-piercing event in the entire 86 years of my life. The term Defunctis in the title portrays a living person who is yet not alive, traversing from heavenly blessings into total darkness, and is a grieving tale of a lost princess, a tragedy that should not have taken place in one’s lifetime. one-act opera My Last Duchess, with a libretto by Tom Dulack based on poetry by In every bar of nearly 200 measures, in every Robert Browning, premiered in April 2012. single note, are found the grieving and aged His 2014 work Mudang, combining Korean composer’s tears filled with anger, passion, p’iri with string quartet, has been heard on LEE Young-Ja was born in Wonju, and love. For three months, I have been living three continents. Many of Wiprud’s works Korea, in 1931. One of the most prominent like a dying swan gushing all my energy and explore spiritual experiences. Other works female composers of her time, LEE studied soul into music, imploring God to allow her respond to American literature, including at Ewha Women’s University in Seoul, Paris to see the radiant sunshine again. American Journal, based on Robert National Conservatory, Manhattan School Hayden’s poem, and A Georgia Song, of Music, and Brussels Royal Conservatory. A swan weary of wailing still does not die. inspired by Maya Angelou. Wiprud graduated In 1989, she obtained a doctoral degree in I wish my long song of prayer will reach God cum laude in biochemistry from Harvard musicology from the Sorbonne University who will give mercy and bless the princess University, and earned his Master of Arts in Paris. confined in the nest of darkness. degree in theory and composition from Boston University, where he worked with From 1961 to 1983, LEE was professor and Throughout the piece, daegum (Korean David Del Tredici. He also studied with director of the composition department at bamboo flute) personifies the princess. I Robin Holloway at Cambridge University, Ewha, and chairman of the Korean National sincerely hope that the lament carried out and with Jacob Druckman and Bernard Committee for Asian Composers League through the winds and clouds by the viola, Rands at Aspen. (ACL). In early 1981 she co-founded, along daegum, and harp will cast a love song of with five other members, the first official redemption. — L.YJ. (Translation by Nonghyun (2017) women composers’ gathering in Korea, the Nany Han, pianist/musicologist) One of the most characteristic sounds of Korean Women Composers’ Association, the gayageum is its wide, resonant vibrato, where she remains president. She was called nonghyun. A great artist can embody granted the Korean Musician Award (1994), ineffable emotion in that sustained but the Presidential Award at the 27th Annual fading vibration, and that is the sound world Korean Culture and Arts Award (1995), this work explores. The western string in- the Grand Prix at the 15th Annual Korean struments are required to treat pitch as flex- Composition Award (1996). In 2012 she ibly as the gayageum. They pluck and slide received the Silver Cultural Medal from from one pitch to another, so that much of the president of Korea. the piece takes place between attacks. When they play with their bows, they widen their LEE has given countless concerts, many of vibrato so that harmonies become cloudlike. them for charity purposes. She is one of the My nonghyun alternates between highly few Korean women composers mentioned rhythmic plucked passages that exploit its in The Grove Dictionary of Women tangy flavor, and lyrical, almost unmeasured, Composers (1994) and in the New Grove bowed passages inspired by nonghyun’s Dictionary of Music and Musicians (2001). emotional qualities. Nonghyun also ap- Outside of her homeland, her music is has been described by peals to me as a title because its two sylla- performed in many countries including Hi Kyung Kim The Washington Post as a master of Asian bles can be translated as string play—an apt France, the Netherlands, the United States, and Western genre-blending. She is a description of my attempt to create a unified Mexico, Indonesia, Australia, Japan, China, composer whose work is noted for its sound world for such differently construct- Taiwan, and Russia. She is also the author creative unification of contemporary ed instruments. I composed Nonghyun in of two books on counterpoint and a thesis Western and traditional Korean musical spring and summer 2017 for the Pacific Rim on Olivier Messiaen’s orchestral works. vocabulary, philosophy, art forms, and Music Festival. —T.W. She is a member of The National Academy of Arts, Republic of Korea.

13 ABOUT THE COMPOSERS Premiere Concert I: INTO BLOSSOMING performers. Kim received a B.A. from Seoul for the Hún Qiáo (Bridge of Souls) project National University, and M.A. and Ph.D. Remembrance and Reconciliation premiere from University of California, Berkeley. At concert, presented by the Chamber Music UC Berkeley she received the Ladd Prix de Society of Minnesota with guest artist Yo-Yo Ma. Paris, which enabled her to work at Institut She was invited as a composer to represent de Recherche et Coordination Acoustique/ third-generation composers at the Asia Musique (IRCAM) and the École Normale Society in New York for the Four Generations Supérieure in Paris (1988-1990). Her teachers of Asian Composers project, and was invited include Andrew Imbrie, Olly Wilson, Gérard to the UNESCO 2nd World Conference on acclaimed San Francisco Symphony Youth Grisey, and Sung-Jae Lee. Since 1992 Arts Education in 2010 as a keynote speaker Orchestra, which he led on its first European she has been a Professor of Music at the and composer. Recently she was invited by tour in 1986. University of California, Santa Cruz, where the National Center for Korean Traditional she is the artistic director of the Pacific Performing Arts as a Fulbright senior Mr. Milnes has conducted abroad frequently, Rim Music Festival. scholar, working with traditional orchestras, and most recently in Mexico, Argentina, where she conducted an in depth study of and Russia. A dedicated proponent of new As a two-time recipient of the Fulbright Korean court music. music, Mr. Milnes has led many performances Scholar award, Hi Kyung Kim has conducted with Earplay, the Empyrean Ensemble, in-depth research on Korean music. In the Isles of Light (2013) is a tone poem Composers Inc., Yarn/Wire, and the Left Coast past two decades Kim has collaborated with inspired by the bird’s-eye photo Dori Island Ensemble. With the Eco Ensemble he a number of Korean artists. These artists, (taken in Korea by Yann Arthus-Bertrand) has conducted works by Pierre Boulez, internationally recognized for their and the poem Isle of Eeo by the Korean György Ligeti, Jonathan Harvey, Beat Furrer, contributions to Korean traditional music poet Ko Un. As depicted in the poem, a Harrison Birtwistle, Franck Bedrossian, and art forms, have participated in several desperate situation in life is seeking/ longing Andrew Imbrie, Erin Gee, and Ivan Fedele. of Kim’s recent compositions. Her projects for better life conditions. The four sections/ In September 2014 he led the Eco Ensemble have included three major multimedia stanzas of the music reflect levels of despair, in concerts of music by Berkeley composers works titled Rituel, for Korean and Western and use different intervals to express the at the Venice Biennale in Italy. As Music ensembles and Korean dance. These tension of one’s suicidal anxiety. Interwoven Director of the San Francisco Contemporary productions were featured at several throughout is the hope of future light and Music Players from 2001 to 2009, he venues worldwide. A new collaborative and better life. The beauty of the island in the commissioned and premiered new works multidisciplinary work, Thousand Gates photo shows the way to a better life. from around the world by such composers for the Ensemble Rituel, was previewed at as Phillipe Leroux, Liza Lim, Edmund Campion, the Smithsonian Institution, including visual Isles of Light was co-commissioned by the Shulamit Ran, Zhou Long, Kui Dong, Earl images by the Korean photographer Koo Koussevitzky Music Foundation and the Kim, and Cindy Cox. He has made recordings Bohn Chang. The work is now in preparation Chamber Music Society of Minnesota. — H.K.K. of music by John Anthony Lennon, James for its full presentation in upcoming years. Newton, Jorge Liderman, and Pablo Ortiz.

Her honors include an award from the About the Conductor American Academy of Arts and Letters, a About the Musicians Koussevitzky Music Foundation commission, David Milnes serves as Music Director a Fromm Music Foundation commission, of the Eco Ensemble, Berkeley’s professional Borromeo String Quartet is an a Meet the Composer/Commissioning USA new music ensemble in residence, as award-winning, world-famous ensemble of grant, funding from the Korea Foundation well as Music Director of the University of 25 years. With a pioneering reputation in the and Arts Council Korea, Fulbright Senior California, Berkeley Symphony Orchestra, use of technology, Borromeo is lauded as Scholar awards, the Asian Cultural Council, which recently completed a European tour visionary due to fresh interpretations of the as well as grants from the University of during which four new pieces by Berkeley classical music canon and the championing California Inter-Campus Arts Program, composers were premiered. He received of works by 20th and 21st century composers. which made possible the establishment advanced degrees in conducting from SUNY Borromeo has the trailblazing distinction of of the Pacific Rim Music Festival. Stony Brook and the Yale School of Music, being the first string quartet to utilize laptop studying with Charles Rosen, Otto-Werner computers on the concert stage, which Kim was a guest composer and a keynote Müller, Herbert Blomstedt, Erich Leins- helps push artistic boundaries, allowing the speaker at the Korea Society of Woman dorf, and Leonard Bernstein, and won the artists to perform solely from four-part Composers. She was a featured composer prestigious Exxon Conductor position with scores and composers’ manuscripts, a the San Francisco Symphony at age 27. He revealing and metamorphic experience also served as Music Director of the highly 14 ABOUT THE MUSICIANS

these dedicated musicians now teach to students around the world. In 2003 Borromeo became the first classical ensemble to make its own live concert recordings and videos, distributing them for many years to audiences through its Living Archive, a music learning web portal for which a new version will soon be released.

Borromeo has presented more than ten string quartet cycles by beloved masters such as Bartók, Beethoven, and Brahms. It has also enjoyed collaborations with composers John Cage, György Ligeti, Gunther Schuller, Osvaldo Golijov, Lera Auerbach, Jennifer Higdon, Steve Mackey, John Harbison, Derek Bermel, and Pierre Jalbert, among many others. The quartet has been ensemble-in-residence at the New England Conservatory and the Isabella Stewart Gardner Museum for 23 years, and has BAE Moon-kyung is an ajaeng musician worked extensively as performers and educators of the National Gugak Center Creative with the Library of Congress (highlighting Traditional Orchestra. She received her B.A. both its manuscript and instrument and M.A. from the Korea National University collections), the Chamber Music Society of of Arts. She is a specialist of Important Lincoln Center, and the Taos School of Music. Intangible Cultural Property No. 1, Jongmyojeryeak. National Gugak Center Chamber Ensemble

SEO Jeong-gon, a geomungo musician of the National Gugak Center Creative Traditional Orchestra, holds a B.A. and M.A. in Gugak from Hanyang University. He won a grand prize at the Dong-A Gugak Competition in the adult musician category. His solo album Seo Jeong-gon Geomungo Sanjo was released in 2006. KIM Bo-mi, a piri musician of the National Gugak Center Creative Traditional SEO Eun-yeong, a Gayageum musician Orchestra, received her B.A. and M.A. from of the National Gugak Center Creative the Korea National University of Arts. Traditional Orchestra, received her B.A. and She is skilled at the Important Intangible M.A. from Korea National University of Arts. Cultural Property No. 46, Piri Jeongak and She received an award from the president Daechita (traditional military band music). of Korea at the 23rd Gimhae Gayageum She released her digital single Bomnaeum Competition. (The Scent of Spring) in 2015.

15 ABOUT THE MUSICIANS Premiere Concert I: INTO BLOSSOMING A member of the National Center for Korean Traditional Performing Arts, she has also taught at several institutions of higher education, including Seoul National University, Ewha Women’s University, and Sook Myung Women’s University. She has performed on nearly every continent, and has been invited to give solo recitals at the Kennedy Center, Harvard University, University of California at Berkeley, Henry Crown Hall in Jerusalem, Soo-yeon Lyuh is a haegeum player, and the Asian Art Museum in San Francisco. composer, and improviser currently based in the Bay Area. Although she has been rig- By her early 20s, Ji had mastered and performed orously trained in court and folk repertoires, incredibly complex sanjo pieces. She she is widely celebrated for her masterful premiered an entire 70-minute sanjo piece performances of new compositions for the LEE Pil-ki, a daegeum musician of the in 1997, and has since performed it frequently haegeum. Deeply invested in exploring new National Gugak Center Creative Traditional in Korea and abroad. Her repertoire is not possibilities for haegeum music, she was Orchestra, graduated from Seoul National limited to traditional Korean gayageum, but recently selected as a 2017 composer for University with a degree in Gugak. As a mas- includes contemporary music as well. Kronos Quartet’s “50 for the Future” project. ter of Daejeum Sanjo (Important Intangible Lyuh served as a member of the National Cultural Property No. 45), she won a grand Gugak Center’s new music troupe for twelve prize at the National Daegeum Competition. years, and has performed in many interna- tional festivals. She completed her B.A., M.A., and Ph.D. in Korean Musicology at Seoul Festival Ensemble Korea National University, where she taught for six years. She currently serves as scholar-in- residence at Mills College in Oakland, CA.

Guest Artists

SONG Jung-min is an artist, professor, and skilled performer of both traditional and contemporary gayageum pieces. She has been invited to perform at many prestigious Korean stages, including the LG Arts Center, the National Center for Korean Traditional Performing Arts, Young-San Art Hall, JI Aeri is one of the most widely ac- and Kum-Ho Art Hall. Her musical endeavors claimed gayageum performers in Korea have taken her abroad to Italy, Austria, Kyle Bruckmann is a composer and today. She completed her undergraduate Spain, the United States, Germany, Japan, performer whose work extends from a Western studies at Seoul National University and Poland, and France. Having completed classical foundation into genre-bending continued graduate work in gayageum her Bachelor of Arts, Master of Arts, and gray areas encompassing free jazz, performance at Ewha Women’s University in Doctor of Musical Arts at Seoul National electronic music, and post punk. Bruck- Seoul. While obtaining her Ph.D., she studied University, she currently lectures at Sook mann earned undergraduate degrees in with Hwang Byung-Ju, Ji Mi-Ja, Lee Jae-Suk, Myung Women’s University, and at Young In music and psychology at Rice University in and Hwang Byung-Ki. University. She is a member of the Korean Houston, Texas, studying oboe with Robert Zither Musicians’ Association, and leads Atherholt. He completed his Master’s degree the gayageum ensemble Sagye. in 1996 at the University of Michigan, Ann

16 Arbor, where he studied oboe performance principal flute with San Francisco Opera’s with Harry Sargous and contemporary Merola Program productions, second improvisation with Ed Sarath. Shortly after flute with the Berkeley Symphony, the moving to the San Francisco Bay Area in San Francisco Chamber Orchestra, the 2003, he joined forces with acclaimed new Midsummer Mozart Festival, and piccolo music collective sfSound, and with Quinteto with the Santa Rosa Symphony. She Latino (a woodwind quintet specializing freelances throughout the Bay Area, in Latin American composers). He is also performing frequently with the San Francisco a member of the San Francisco Contem- Contemporary Music Players, Earplay, the porary Music Players, Eco Ensemble, and Oakland and Marin Symphonies, and others. Splinter Reeds. He has worked with the San A native of the Bay Area, Ms. Pelinka attended Francisco Symphony and most of the area’s Cornell University and the San Francisco is a percussionist, educator, regional orchestras, remaining active in an Darren Lin Conservatory, where she studied with and conductor currently based in Boston. international community of improvisers and Timothy Day. A certified Feldenkrais Method® A musician with diverse interests and sound artists. Current local groups include practitioner, Ms. Pelinka teaches Feldenkrais numerous projects, he has most recently Addleds, Shudder, and mchtnchts. From classes to the musicians of the San Francisco returned from a month-long residency in 1996 until his westward relocation, he was Symphony. She enjoys applying theoretical Japan, as a member of the Pacific Music Fes- a fixture in Chicago’s experimental music concepts from the method in her flute tival. There he worked with esteemed con- underground. Long-term affiliations include instruction, which has a strong somatic ductors Jun Markl and Valery Gergiev, giving the electro-acoustic duo EKG, the “rock” focus. She teaches flute at UC Davis orchestra concerts all over the country. He monstrosity Lozenge, and the experimental and UC Berkeley. has also performed under JoAnn Falletta, quintet Wrack (recipient of a 2012 Chamber Gerard Schwarz, and Brad Lubman. Equally Music America New Jazz Works award). at home playing contemporary music, Lin John Sackett has worked closely with Pulitzer Prize-win- is a clarinetist and ning composers Steve Reich and John composer. He has Luther Adams. He has commissioned and been on the faculty premiered several pieces, including Dave at the University of Hollinden’s Locomotion (2012) for percus- California, Santa sion quartet. Lin was also a member of the Cruz. He earned his Cleveland premiere of Adams’ large-scale Bachelor of Music percussion piece Inuksuit. He holds degrees degree from the San from the University of Michigan and the Francisco Conserva- Eastman School of Music, and is currently tory of Music, where studying at the New England Conservatory. he studied clarinet with Alan Balter, and composition with John Adams and Ingram Marshall. During his graduate studies in composition at Mills College, he studied with Terry Riley. He June Han is an internationally renowned later studied under Andrew Imbrie and Olly harpist, praised for her “exceptionally varied Wilson while obtaining his M.A. and Ph.D. phrasing and… innate sense of timing” from the University of California, Berkeley. (Concert Review Magazine). Her educational As a clarinetist, he performed solos with the background includes the Conservatoire Minnesota Orchestra at age 16. He received National Superieur de Musique de Paris, Yale a fellowship to the Berkshire Music Festival School of Music, and the Julliard School, at Tanglewood, where he studied clarinet where she attained her doctorate. A with Harold Wright, and has performed with member of several musical ensembles, Terry Riley’s group Khayal in the Bay Area. Han is also an active orchestral player, and Mr. Sackett has received a composition has collaborated with Orchestre de Paris, grant from the National Endowment for Kirov Opera Orchestra, and the New York the Arts, and the Charles Ives Composition Philharmonic. Han is an enthusiastic Stacey Pelinka enjoys performing a Award from the American Academy Institute supporter of contemporary composers, broad spectrum of classical music, of Arts and Letters. His skill as a clarinetist and has premiered works by Charles particularly in the contemporary chamber is sought throughout the San Francisco Bay Wuorinen, Samuel Adler, Lei Liang, and her vein. She is a founding member of the Eco Area, and he has performed many premieres mother, Young-Ja Lee. She currently teaches Ensemble, resident at UC Berkeley and especially written for him. at several universities, including Yale, CNMAT, and a longtime member of the Left Columbia, and Julliard. Coast Chamber Ensemble. An active orchestral musician, Ms. Pelinka plays 17 18 PAGE TITLE Premiere Concert II: INTO BEING New York New Music Ensemble Festival Ensemble Korea

Friday, October 27, 7:30 PM Music Center Recital Hall

PROGRAM INTERMISSION

Einfluss* KUMKIRI 꿈길이 * Festival Ensemble Korea Laurie San Martin CHOE Uzong Gayageum: JI Aeri, SONG Jung-min Gayageum, Haegeum, Violin, Cello Flute, Clarinet, Percussion, Piano, Ajaeng: KIM Yejina SONG Jung-min, Gayageum Violin, Cello Haegeum: Soo-yeon Lyuh, KIM Soo-yeon KIM Soo-yeon, Haegeum snakey snake* New York New Music Ensemble Paean & Processional* Larry Polansky Flute: Emi Ferguson Benjamin Carson Haegeum, Electronics Clarinet: Jean Kopperud Gayageum, Electronics Soo-yeon Lyuh, Haegeum Percussion: Daniel Druckman SONG Jung-min, Gayageum Piano: Stephen Gosling sandstone(s)* Violin: Linda Quan Rituals* Richard Carrick Cello: Chris Finckel David Cope Gayageum, Haegeum, Ajaeng, Flute, Conductor: Eduardo Leandro JI Aeri, Gayageum Violin, Cello SONG Jung-min, Gayageum Guest artist Ayre** KIM Soo-yeon, Haegeum Viola: Polly Malan Chaya Czernowin KIM Yejina, Ajaeng Flute, Clarinet, Piano, Percussion, Violin, Viola, Cello, Electronics O-U-Ga LIM June-Hee Primordial Particle System* Gayageum, Flute, Clarinet, Violin, Cello, Karlton Hester Piano, Percussion Gayageum, Haegeum, Tenor Sax, Cello, JI Aeri, Gayageum Piano, Pre-recorded electronic score SONG Jung-min, Gayageum * World Premiere, written for the 2017 Soo-yeon Lyuh, Haegeum Pacific Rim Music Festival ** West Coast Premiere ABOUT THE COMPOSERS Premiere Concert II: INTO BEING

Einfluss (2017) (Christopher Williams, “On the Piano Music Einfluss means influence or leverage in Ger- of Ben Carson”, in The Open Space man. The piece is about the different roles Magazine, Issue 5, December 2005). that instruments take when featured, or Carson’s music has been performed widely when in the background or accompaniment. at international festivals, and has been the This short work is written for the Pacific Rim subject of portrait concerts at Sydney Music Festival at the University of California, Conservatory’s 2005 “Music and Social Santa Cruz, and is gratefully dedicated to Hi Justice” conference, at Columbia University Kyung Kim. — L.SM. (2009), and with the International Society for Improvised Music (2010). He is currently Associate Professor of Music at UC Santa Cruz.

Paean & Processional (2017) My work on this piece began with a lot of is a composer and Laurie San Martin listening, and then, with a question about professor currently based in Davis, California. melodic rhythm. What is this dance-inspired Her compositions are known for compelling notion of pulse, that seems to link most narratives, exploring the intersection musical traditions—that is, the feeling that between texture and line. She primarily a repeating group of bodily movements, writes concert music for chamber ensembles however flexible, is what guides the passage and orchestra, but has also written for the- of time? How does pulse really work in my ater, dance, and video. Her music has been musical life, cradled and hemmed-in by my performed across the United States, Europe, own mostly late-20th-century American and Asia. Most recently she has enjoyed experiences? What would it be like for a writing for virtuoso soloists including violinists Benjamin Carson was born in North gayageum player to explore that sense of Hrafnhildur Atladottir and Gabriela Díaz, Carolina and spent a good part of his first rhythm, from a remote vantage point—could percussionists Chris Froh and Mayumi eight years in the trailer parks, highway rest she draw everything—the instrument itself, Hama, Haleh Abghari (soprano), Yi Ji-Young areas, and rural campgrounds of 47 different as well as my limited framework ... her own (gayageum), and David Russell (cello). U.S. states, following parents who worked sensibilities, and mine... into a new space, for the U.S. Geological Survey, while unfamiliar to all? As a long-time student in Laurie has worked with numerous ensembles bird-watching and fossil-hunting their way the “zither” tradition, I am deeply honored including the San Francisco Contemporary back and forth across the country. Later, in and excited—and a little bit shy!—to have Music Players, Berlin Piano Percussion, Left Walla Walla, Washington, he was led to had this chance to compose for gayageum, Coast Chamber Ensemble, eighth blackbird, music by Argentine composer José Rambal- especially with the support and patience of SF Chamber Orchestra, Lydian Quartet, di (d. 1989) and comedian-singer Bradley such a gifted artist.—B.C. Magnetic South Ensemble, and Washington Hunt (d. 1988), whose lives were cut short by Square Contemporary Chamber Players. AIDS while Ben was still a teen. His work Recipient of the 2016 Guggenheim Fellowship, ranges from intimate and understated David Cope is Professor Emeritus of Music she has also received awards from the chamber music to a large-scale music drama at the University of California, Santa Cruz. Fromm Foundation, American Academy of based on a Star Trek teleplay, and empha- His books on the intersection of music and Computers and Arts and Letters, League of Composers-ISCM, sizes “the establishment and erosion of computer science include Musical Style, Experiments in Musical International Alliance for Women in Music, musical boundaries, the evolution/ and ASCAP Morton Gould Young devolution of melody, and the use of silence Composer Awards. as a structural component” (Robert Schulslaper, Fanfare Magazine July/August Laurie holds a Ph.D. in Theory and Composition 2012). Most of Carson’s music explores the from Brandeis University. She has phenomenon of voice in music as an taught at Clark University and is currently opportunity for play, and paradox, in which Professor of Music at the University of “each element in a false dichotomy defines California, Davis. and becomes the other,” offering listeners “the opportunity and responsibility to navigate our [own] uniquely useful paths”

20 Intelligence, The Algorithmic Composer, This can here be seen as a sonic continuity, Virtual Music, Computer Models of which evokes a notion of place rather than Musical Creativity, and Hidden Structure. an event or process. This world is created by They all describe and explore the computer and lies between particular musical actions program called Experiments in Musical and sounds. It is a place of deep, colored Intelligence. Works composed in his own silence. My piece is dedicated to Ensemble style include ten symphonies, six string Norrbotten, NEO. — C.C. quartets, several chamber orchestra pieces, summer Academy at Schloss Solitude, and a host of other works, most of which a biannual course for composers. have been performed around the world, and all of which are available on recording. Czernowin’s work is characterized by the use Cope is also a notable painter, with many of metaphor as a way of reaching an unfamiliar works on display in galleries and homes sound world, with the aim of reaching a around the world, a playwright, and an subconscious music that goes beyond style author of 23 published novels and ten books conventions or rationality. Her pieces have of short stories to date (over 200 in all). been programmed in most of the significant He also writes books on board games he European new music festivals, and in Japan, has created, artificial intelligence, computer Korea, Australia, the US, and Canada. She programming, and music theory. has composed two large-scale works for the stage: Pnima...ins Innere (2000, Munich Rituals (2017) Biennale), chosen as the best premiere Rituals is written for gayageum, wind of the year by the Opernwelt yearly critic chimes, bass drum, and vocals, often heard survey, and Adama (2004/5) with Mozart’s simultaneously. The work has many influences, unfinished Zaide (Salzburg Festival 2006). Karlton E. Hester, Ph.D. (composer/ including Navajo chants and texts, American She was appointed Artist in Residence at flutist/saxophonist), began his career as a instruments and translations, and Korean the Salzburg Festival in 2005/6, and at composer and recording artist in Los Angeles, instruments, while experimenting with vari- Switzerland’s Lucerne Festival in 2013. where he worked as a studio musician. He ous performance techniques. This combina- received a Ph.D. in composition from the tion of elements stems from the proposition Czernowin’s work has received numer- City University of New York Graduate Center that while there are many distinct and ous awards, including the Kranichsteiner and is currently Director of Jazz Studies separate cultures, their traditions can be Musikpreis (1992) at Darmstadt Ferienkurse, at the University of California, Santa Cruz. shared and harmonized with one another. the Composer Prize (2003) of the Ernst-von- He is the founding music director of the The piece celebrates music and the arts as Siemens Foundation, and a Guggenheim Fillmore Jazz Preservation Big Band (in San an avenue for people of differing cultural Foundation fellowship (2011). Most recently, Francisco), founding director of Hesterian backgrounds to experience a deeper mutual her CD The Quiet has been awarded Musicism, and served as Herbert Gussman love and respect. —D.C. The Quarterly German Record Critics’ Director of Jazz Studies at Cornell University Award (2016). (1991-2001) – where he established the Annual Cornell Jazz Festival. Hester specializes in Chaya Czernowin is a composer of interdisciplinary, premeditated, spontaneous, world-renowned operas, orchestral and AYRE (2016) transcultural, and electro-acoustic chamber works. Born and raised in Israel, Towed through plumes, thicket, asphalt, composition and improvisation. His Czernowin began her studies there and sawdust, and hazardous air, I shall not compositions range from solo cycles for went on to study in Germany and the United forget the sound of it. This piece is a small various woodwinds to chamber configurations, States. Awarded many grants, she has been window into which one looks, as through music videos, and electroacoustic symphonic invited to live and study in Japan, Germany, a microscope, at what makes small things works in an eclectic array of styles. Hester and Austria. Having held professorships move, and transforms the sonic tissue of has performed in Bolivia, Nigeria, Egypt, at University of California, San Diego and moving noises/sounds into a song. The Korea, Germany, France, South Africa, Hong University of Music and Performing Arts in instruments in the piece focus on miniscule Kong, Thailand, Canada, Peru, and Mexico. Vienna, Austria, she is currently the Walter areas of movement. Within these bound- Bigelow Rosen Professor of Music at Harvard aries, repetitive, restricted materials seem Dr. Hester has been the recipient of composer University. Together with Jean-Baptiste to be dragged on various surfaces. The fellowships, grants, and commissions Jolly, the director of Akademie Schloss second part of the work witnesses the tiny from the National Endowment for the Arts, Solitude near Stuttgart, and composer and effortful movements open the musical American Composers Forum (SF Bay Area Steven Kazuo Takasugi, she has founded the territory to an unexpected negative space. Chapter), UC Santa Cruz Dean’s Excellence

21 ABOUT THE COMPOSERS Premiere Concert II: INTO BEING

Award, New York Foundation for the Arts, bass music of the 1960’s-70’s African-Ameri- Choe is currently writing a new musical New England Council of the Arts, Fund for can jazz and funk, while the piano maintains theater composition called Song of US Artists for International Participation in the improvisatory nature of Afro-Cuban Dewdrops, which combines Korean International Festivals, ASCAP, UCSC Arts music. The haegeum and tenor saxophone traditional performing arts with musical Institute, the William Grant Still Foundation, move between primary melodic roles to comedy, to be premiered in November of and a Postdoctoral fellowship from the additional rhythmic contribution at times, 2017. He has been a professor of composition Mellon Foundation, amongst others. Selected imitating how Korean drum ensembles and theory at Seoul National University albums and DVDs include Transcultural might interact. West African polyrhythms since 2001, and the artistic director of Musicism (2016), 21st-Century Musicism, provide a unifying theme, and the electronic Ensemble TIMF (in residence at Tongyeong The Divine Particle Vision, The Fillmore backdrop aims to create a space for trans- International Music Festival). Jazz Preservation Big Band (featuring cultural musical merging. — K.H. John Handy and Denise Perrier), Harmonious Kumkiri (2017) Soul Scenes 200, Musicism for the This piece is based on a traditional gagok Sake of Love, Hesterian Liberation, (Korean art song), which begins with the Reconstructive Musicism, Karlton Hester word “kumkiri,” meaning dream path. When and the Contemporary Jazz Art Move- listening to gagok I find myself somewhere ment, Hesterian Musicism, Dances Purely amid silence or at a standstill, aware that for the Sake of Love and others. His books music is a way capable of taking us to on music include Survey of mysterious worlds in seconds of time. There African Music (2011), Exploratory Musicism: is no singer in the piece, but I’d like to share Ideas for Spontaneous Composition the original text: (2010), African Roots of the “Jazz” Evolution (3rd Edition, 2017), and The If the trail I used to step on Melodic and Polyrhythmic Development in my dream left traces behind, of John Coltrane’s Spontaneous Outside of her window, Composition in a Racist Society. There would be a worn stone path It is such sorrow that a dream path Primordial Particle System (2017) CHOE Uzong was born in 1968 in Seoul, leaves no traces behind. — C.UZ. This composition is inspired by the capability Korea. His studies in composition and of dividing the nucleus of an atom to music theory at Seoul National University, Larry Polansky is a composer, theorist, create energy (nuclear fission), and mimics Mozarteum in Salzburg, and Conservatoire music professor, writer, performer, programmer, this process musically. Through “creative National Supérieur de Musique de Paris, editor, and publisher. He initially studied fission,” this piece attempts to transform exposed him to a range of influences, which with Ron Riddle at the New College of and intermingle aspects of Korean, Afri- inform the wide variety of musical styles and Florida in Sarasota, then at the University can-American, Afro-Cuban, European, and aesthetic standpoints present in his work. of California, Santa Cruz, where in 1976 he African musical systems. I divide musical earned his Bachelor of Arts in mathematics features of Korean pansori, West African Since 1994, Choe has worked with the the- and music, and in 1977 with James Tenney drum ensemble polyrhythms, and Afro-Cu- ater troupe Yon-Hee Dan. He has composed at the York University in Toronto. He studied ban montuno, revising these sounds to then and directed numerous pieces for musical composition with Ben Johnston at the blend them with African and European influ- theatre, and his most recent works reflect University of Illinois at Urbana–Champaign, ences. There are shared creative elements his interest in unifying classic European and there earned his Master of Arts in 1978. between the cultural approaches involved literature with traditional Korean music. in this process-- namely, an emphasis on His work Rose was the opening piece of audience interaction, the incorporation the 2006 Tongyeong International Music of improvisation, ritual context settings, Festival, and he was commissioned by the and performance within interdisciplinary city of Seoul to write his grand opera Love environments. Letter in 2012. Most recently, Choe has demonstrated his talent in composing In both jazz and many Korean traditional musical comedies, including Ophelia in styles, there is interaction between the mu- 2013, an adaptation of Shakespeare’s sician and audience—represented here by Hamlet. the gayageum’s chanting notes, much like a pansori singer’s stories. The cello alludes to

22 He also had private studies in jazz guitar kinship in this duality of experience when with George Barnes, Mick Goodrick, and working with these ancient Korean instruments Chuck Wayne. Among his honors are the and melodies, which I have had the great Fulbright Fellowship (1995–96) and the pleasure of engaging for the past few years. Sony Music Fellowship (2001). sandstone(s) references Chun Hyang Ga-Jajin Sarang ga, Dan Ga-Sa Cheol Ga, Although mostly a composer of chamber, and Bangataryeong Gangsanje Simcheongga. choral, vocal, piano, and electroacoustic — R.C. works performed in Europe and the Americas, worlds. Other works by Carrick have been he is also an active electric guitarist and commissioned by the Fromm Foundation, writer. Originally from New York, Polansky premiered by the MIVOS Quartet, Marilyn now resides in Santa Cruz, California, and Nonken, and presented at numerous has taught at UC Santa Cruz since 2013. He festivals internationally. is also the Emeritus Strauss Professor of Music at Dartmouth College, co-director and Carrick is co-founder and co-artistic director co-founder of Frog Peak Music, co-founder of of the contemporary music ensemble Either/ the Leonardo Music Journal, and has served Or, declared “a trustworthy purveyor of fresh on the board of directors for Perspectives sounds” by The New York Times, and win- of New Music since 1995. ner of the Chamber Music America/ASCAP Award for Adventurous Programming. As snakey snake (2017) conductor and pianist, Carrick has worked snakey snake is a work for haegeum (or any with many celebrated composers including string instrument) and live computer. It was Helmut Lachenmann, Jonny Greenwood, written for Soo-yeon Lyuh at the request of Chaya Czernowin, Elliott Sharp, George my colleague Hi Kyung Kim, for the 2017 Lewis, Alvin Lucier, and Rebecca Saunders. LIM June-Hee was born in Seoul, Korea Pacific Rim Music Festival. The work is related Carrick’s conducting of Either/Or’s ambitious in 1959, and studied composition at the to my three previous Cantillation Studies: presentation of John Cage’s Party Pieces city’s Yonsei University. She went on to B’rey’sheet, for voice and live computer brought together 125 renowned composers Indiana University, where she received a (1984 – 1986); V’leem’shol, for five flutes from around the world. doctoral degree in composition. Lim’s works (1984); and E’leh Tol’d’ot, for four marim- have been lauded for breaking down the bas and live computer (1986). The first of A US citizen born in Paris of French-Algerian barriers between Western, traditional, these, like snakey snake, tunes in real-time and British descent, Carrick received his B.A. contemporary, and popular styles, creating to the performer’s melody, using an evolving degree from Columbia University, Ph.D. new horizons for global music. Recognized notion of the complexity of harmonic space. from the University of California, San Diego for her talent both at home and abroad, Lim A special thanks to David Kant for his advice with Brian Ferneyhough, and pursued has received numerous composition awards on the computer software.— ­ L.P. further studies at IRCAM and the Koninklijk in Korea, and her music has been selected Conservatorium in The Hague. Carrick and performed worldwide at the International recently taught composition at Columbia Society of Contemporary Music World Music Richard Carrick, a Guggenheim and New York Universities and has presented Days, the Asian Composers League fellow, composer, performer, and teacher, master classes and lectures throughout the Conference and Festival, the St. Petersburg creates music influenced by his multicultural United States, Europe, and Asia. He is a International Music Festival, the Beijing background and experiences, as well as cornerstone of the teaching artist faculty Modern Music Festival, and the International his commitment to inspire professionals, for the New York Philharmonic, through Festival of Women in Music. audiences, and youth through composition which he has mentored hundreds of young and performance. His most recent musical composers internationally. Lim’s opera, Soul Mate, was premiered at release, Cycles of Evolution, includes the Frankfurt Opera Theater in 2006, and pieces commissioned and performed by sandstone(s) (2017) was praised as “the ideal union of abun- musicians of the New York Philharmonic, Sandstone (the rock) is created over long dant Korean culture and European classical Either/Or, Sweden’s Ensemble Son, Hotel periods of time by the sedimenting of sand. elements.” Her orchestral works have been Elefant, and DZ4. Carrick either conducts or Sand stones (sand in the shape of stones) performed throughout Europe, and she was performs in every piece on this album, which are easily made on the beach, coming apart commissioned by the National Orchestra has garnered attention not only as chamber as quickly as they are made. There is a of Korea to write A Fisherman’s Song of music, but also in the new music and guitar

23 ABOUT THE COMPOSERS Premiere Concert II: INTO BEING

Four Seasons, which earned her the 2011 O-U-Ga by Yun Seondo About the Musicians: Korean Composition Award from the Music Counting how many friends of mine there Association of Korea. are, Water, Rock, Pine, Bamboo. Festival Ensemble Korea Moreover, Moon is rising up shining from the Lim is currently a resident composer of the east mountain, beautiful to behold. JI Aeri [see Premiere Concert I] KBS Symphony Orchestra, vice chairman Let’s stop then, I’m full of these five, what [see Premiere Concert I] and professor at Korea National University else to wish for? SONG Jung-min of Arts, and Artistic Director of the Korean Composers Society. She focuses her aca- Water demic career on globalization and modern- The color of a cloud said to be beautiful, but ization of Korean music through education often gets dark. and research. The sound of wind heard clean, but often ceases to blow. O-U-Ga (Five Friends in Nature) Then it is only Water, which has never This work is composed for gayageum, stopped ceasing and is still clean. clarinet, violin, cello, piano, and percussion. It is inspired by the famous Korean poet Yun Rock Seondo’s poem O-U-Ga, written in 1642. Why does the flower blossom and wither, Seondo describes five “friends” he discovers Why does the grass become green and in nature: Water, Rock, Pine, Bamboo, and then turn yellow? Moon, and the harmony he finds among No matter how much I think, I suppose them. The composition consists of a only the rock never changes. prologue, five sections, and an epilogue. Seondo is represented by the gayageum in Pine KIM Yejina is an ajaeng performer from the prologue, inviting each friend into If it gets warm, there blossom flowers, Korea, whose interest in music began very conversation over the five consecutive if it gets cold, leaves fall down, early on. First introduced to music as an sections: Water (piano), Rock (clarinet), Pine! How do you stand in spite of snow 11-year-old through the flute and Samulnori Pine (cello), Bamboo (flute), and Moon or frost? (Korean percussion), Kim dedicated herself (violin). Percussion represents air, sky, and From that I surely know your roots reach to the study of traditional Korean music earth. O-U-Ga was composed to emphasize deep into the ground. as early as middle school. She is currently the intrinsic characteristics of each studying Ajaeng at Seoul National Uni- instrument, and musically mimic the Bamboo versity, and her knowledge and abilities harmony found in nature. Not a tree, not a grass, who told you have grown to encompass both traditional to grow so straight, Korean and contemporary music. Her most and how is your inside hollow? recent performances have included collabo- Still, you remain green for four seasons, rative concerts with the Asian Art Ensemble I am very fond of it. and the Ajaeng Recital in Berlin

Moon Soo-yeon Lyuh [see Premiere Concert I] A small thing rises up high, shines on the whole world, At midnight, is there anything more than light? You saw me and still are quiet, I suppose you truly are my friend. (Translated by LIM Hyeong-Jin) — L.JH.

24 become more known and appreciated. Guest artist NYNME has been recognized and supported by several foundations, including the Polly Malan has played contemporary Jerome Foundation, the Fromm Foundation music for many of her solo recitals, with at Harvard, the Mary Flagler Cary Foundation, ensembles, and in the Mellon Foundation, the Koussevitzky festivals, including Foundation, the NEA and NYSCA, among the Pacific Rim others. They have performed numerous Festival, New Music is a haegeum performer KIM Soo-yeon college residencies (Long Beach, UW Madi- Works, Alea II, the from Seoul, Korea. Since her early child- son, Univ. of Pittsburgh), appeared at major New Frontiers hood, Soo-yeon had a strong interest in art, festivals (Ravinia, Santa Fe, June in Buffalo, Festival, and the and dreamt of becoming a famous artist. Pacific Rim, The Thailand International Aspen and Spoleto Motivated by her deep passion for music, Composers Festival), and have recorded a Festivals. She has she graduated with honors from Korean huge discography of important chamber played with the San National University of Art and continued works. They have traveled to Europe, Asia, Francisco Opera, and on with graduate level studies. Formerly a and South America to perform, teach and was principal violist member of The National Youth Orchestra record, and have branched out into theater of Western Opera Company of Korea and a guest member of music (instrumentalists doubling as actors Theatre and the Seoul Municipal Traditional Music Orchestra, and singers) and adventuresome electronic, Bayshore Lyric Opera. Kim now plays with the Korean Haegeum interactive new technologies. Chamber music Ensemble. Kim has received awards from performances pres- the Music Association of Korea and Their primary mission is to give concerts ently include The National Center for Korean Traditional that amuse and entertain. Second and more Telluride Chamber Performing Arts, and she has played solo globally, they wish to support American Music Festival and Santa Cruz Chamber with the Sejong Traditional Music Orchestra. composers, and increasingly European, Players. She also plays with the Skywalker South American and Asian, through Philharmonic for recording films and video New York New Music Ensemble commissioning, performing, and recording. games. The Hidden Valley String Orchestra, New York New Music Ensemble (NYNME) Third, they are always working to create a conductorless ensemble of which she is a has been commissioning, performing and new audiences for serious chamber music. founding member, is a particular passion recording important and upcoming com- NYNME’s number of commissions is over of hers. Malan studied 20th Century posers since 1976. They have in fact been 120, their recordings more than 20, and Performance Practice in graduate school the means by which many of these have performances range into many hundreds. at Stanford and at University of California, Santa Cruz, and received her undergraduate degree at Bowdoin College in British History and Music.

25 26 PAGE TITLE Premiere Concert III : SPROUTING INTO Young Composers Edition Festival Ensemble Korea Borromeo String Quartet New York New Music Ensemble Saturday, October 28, 7:30 PM Music Center Recital Hall

PROGRAM INTERMISSION All are premiere performances, written for the 2017 Pacific Rim Music Festival. Hyeon (String) – Hyung (Fierce) Vibreum – Han (Grief) Ed Garcia Festival Ensemble Korea SONG Jung Haegeum, Percussion Gayageum: KIM Chul-jin Geomungo, Gayageum (25 strings), Cello Geomungo: PARK Jeong-min Metamorphosis of Sanjo Haegeum: Soo-yeon Lyuh, KIM Soo-yeon KRE Sanguk Kim Ajaeng: KIM Yejina Jon Yu Ajaeng, String Quartet Haegeum, Flute, Cello Borromeo String Quartet Borromeo String Quartet Nicholas Kitchen, Kristopher Tong: Violins Scatter Chaos Ken Hamao: Viola Addie Camsuzou Yunxiang Gao Yeesun Kim: Cello Gayageum, Haegeum, Violin, Cello Gayageum, Flute, Clarinet, Piano, Borromeo String Quartet Violin, Cello Conductor: Nathaniel Berman

Transnaturalizaciones Tears in Your Bottle New York New Music Ensemble: Pablo Rubio-Vargas Sarang Kim Flute: Emi Ferguson Gayageum, Geomungo, Haegeum, Flute, Haegeum, Clarinet, Violin, Cello, Clarinet: Jean Kopperud Clarinet, Cello Piano, Percussion Percussion: Daniel Druckman Piano: Stephen Gosling Fabrication Flowing Tone Violin: Linda Quan Samuel Fibich Yulsman BAE Seung-hye Cello: Chris Finckel Ajaeng, Geomungo, Flute, Piano, Gayageum (12 strings), Percussion String Quartet Conductor: Eduardo Leandro Borromeo String Quartet ABOUT THE COMPOSERS Premiere Concert III: SPROUTING INTO

Jon Yu is a Taiwanese-American composer whose works explore notions of ritual, utility, and excess. His music has been performed in Germany, Singapore, and throughout the US by ensembles and soloists such as Mivos Quartet, Ensemble Signal, Wet Ink Ensemble, Trio SurPlus, Eco Ensemble, Wild Rumpus, Transient Canvas, clarinetist Matt Ingalls, saxophonist Brien Henderson, and trumpeter Chad Goodman. Addie Camsuzou is a composer and Yu has been an active participant at festivals violinist from the central coast of California. like June in Buffalo (2014), Dian Red Kechil She graduated magna cum laude from International Young Composers Residency Sacramento State University with a Bachelor (2015), Walden School Creative Musicians of Music degree in Music Theory/Composition. Retreat (2014), Summer Institute for There she studied composition with Stephen SONG Jung is a Korean traditional music Contemporary Performance Practice (2016), Blumberg and violin with Ian Swensen and composer who has graduated from Korean and Darmstadt Ferienkurse (2016). Anna Presler. In 2014 she was awarded National University of Arts and School of Honorable Mention in the FeNAM Student Korean Traditional Arts. He has been awarded Composers Competition and received the by Dong-A Korean Traditional Music Concourse Camerata Capistrano Scholarship. The (hosted by the Dong-A Daily News), 21C following year she won Best Arrangement Korean Music Project, and Shinakhoe in the CSUS School of Music Scoring and Creative Traditional Music Competition. Arranging Competition, and Best Composition Though involved in various genres, includ- in the FeNAM Student Composer Competition. ing traditional music, drama, and dance She is currently pursuing a Ph.D. in Compo- music, Song Jung’s main devotion has been sition at the University of California, Davis. his Neo series: Neo Daechwita for Korean traditional orchestra, Neo Boheoja for piri Scatter was inspired by the transient actions ensemble, and Neo Yeominlak for gayageum of fallen leaves in autumn. They may rustle ensemble. He is currently pursuing graduate in the breeze or become completely study and lecturing at the Korean National animated by a gust of wind, but their University of Arts. liveliness is only made possible through the influence of outside forces. This concept is Hyeon (String) – Hyung (Fierce) Yu holds degrees from the University of here the basis of orchestration: instruments – Han (Grief) California, Santa Cruz, and San Francisco imitate each other motivically and gesturally This work deals with hyung (evil) and han, State University. He is currently pursuing to create the illusion that one is being swept a feeling of sorrow, grief, and unavenged a Ph.D. in composition at UC Berkeley. up by the other. Additionally, broad gestures injustice. It is a fearful thing, for instance, His principal teachers have been Franck and brittle textures aid in creating a sound that children full of beauty drown in the cold Bedrossian, Ken Ueno, Edmund Campion, world reminiscent of dry, dead leaves on a sea. All of us have accumulated a certain Cindy Cox, Richard Festinger, and Benjamin blustery day. — A.C. amount of han in our hearts. I hope that Sabey. He has also participated in master classes and private lessons with Steven healing comes not from grief-induced rage, Pablo Rubio-Vargas is a multimedia Takasugi, Klaus Lang, Mark Andre, Kaija but a transcendence of these emotions. artist and composer from Mexico. He is Saariaho, Ming Tsao, Joshua Fineberg, Although the long history of Korea has currently pursuing his Doctor of Musical and Eve Beglarian. embraced han like a mature crystal, this Arts degree in Composition at University of affect is not limited to my country. I hope California, Santa Cruz. He previously studied KRE that this work will comfort the injured composition with Ignacio Baca in Queretaro. “Everything must and relieve the heart. —S.J. In 2013 he completed a M.F.A. in Improvisation, be arranged Composition & Technology at University of to a hair California, Irvine, in the class in a fulminating order.” – Antonin Artaud, Pour en finir avec le jugement de dieu

28 of Christopher Dobrian. Pablo has attended contact with each other. Larger aggregate lectures, seminars, and classes with bodies often emerge from these momentary composers including Rodrigo Sigal, Juan contacts. Sometimes they evolve slowly, Trigos, Nicole Mitchell, Brian Ferneyhough, luxuriating in the newfound moment; Larry Polansky, David Evan Jones, alternatively, they quickly dissipate only and Hi Kyung Kim. to re-emerge at inconvenient, untimely intervals. As such, the relationship between larger aggregate bodies and individual sonic bodies from which they emerge is central to Samuel Fibich Yulsman is a the musical drama of Fabrication. Rather composer, pianist, and multimedia artist than moving along a monolithic trajectory, whose work spans a wide range of musical however, this relationship undergoes constant idioms. As a pianist, he has collaborated transformation, drifting, leaping, and closely with a broad array of composers nervously fluttering along a continuum of and improvisers. As a composer, Yulsman’s potential outcomes. work explores a diversity of materials and approaches to sound, ranging from choreo- On either end of the outcome continuum graphic treatments of performer gestures are two relational extremes: 1) The individual and interactions, to slowly unfurling har- component sound-bodies are increasingly monic narratives and blues-inspired exper- defined by the momentum of an emerging iments with repetition. His work has been aggregate, producing a sense of immanent performed by ensembles including JACK immobility or an enforced state of chaotic Pablo has been fortunate to work with Quartet, Wet Ink Ensemble, Mivos Quartet, indecision. 2) The aggregate fails to tightly musicians as outstanding as International loadbang, counter)induction, and Westerlies define the roles of its components, allowing Contemporary Ensemble (ICE), Arditti String Brass Quartet. In 2016 Yulsman was selected them to become rogue musical agents Quartet, Horacio Franco, Wilfrido Terrazas, for the 1st annual Wet Ink Large Ensemble who unexpectedly refuse to play out their Eva Zondler, Alexander Bruck, Bergamasque Readings Project. Most recently, he was intuited relationship to the unfolding action. Duo, Eighth Blackbird, and Daniel Sanchez. chosen as a participant in the 2017 Ostrava — S.FY. He has participated in projects dealing with Days Institute. Yulsman also performs and music improvisation using new technology, composes with electronics. In April 2017, he and has performed contemporary music worked with George Lewis and the S.E.M. with ensembles including Colectivo Kaoss, Ensemble, performing the electronics for Paracaidistas Alrevés, Sound Body Collective, Lewis’ Emergent and Seismologic, with and Cuarteto Yagalé. Claire Chase and Dana Jessen at Bohemian National Hall. Transnaturalizaciones is a metaphor for experiencing nature in the digital world. Yulsman is currently pursuing a Doctor The title reflects my current compositional of Musical Arts degree in composition at process, which involves extracting sound Columbia University, where he studies with materials from natural field recordings, and George Lewis, Georg Haas, and Fred Lerdahl. abstracting them into electroacoustic com- In 2014 he completed undergraduate studies positions. The idea is to interpolate different in anthropology at Columbia University. sonic realms, like a natural environment There he received the Ella Deloria Fellowship transformed into data and then recreated for his work in recording and documenting as a live ensemble piece. The musicians are music from Siwa, Egypt. He was also Ed Garcia is a percussionist and composer prompted to listen to the electroacoustic nominated for the Louis Sudler Prize in currently pursuing a Doctorate of Musical composition of three minutes, and play it the Arts by the Columbia University Music Arts at the University of California, Santa back over six minutes. This version is only Department, and is currently a recipient of Cruz. He has performed in many musical for the ensemble, and they are the ones the Victor Barnouw Fellowship Fund. settings throughout the US and abroad, reconstructing the “nature” of the sound. including rock bands, chamber music, — P.RV. Fabrication simulates the growth of orchestras, operas, musicals, and Indonesian abstract sonic bodies and imagines different gamelan. Many of Garcia’s compositional scenarios within which they might come into

29 ABOUT THE COMPOSERS Premiere Concert III: SPROUTING INTO inspirations come from his experience with prominent traditional Korean musicians; his Western percussion and advanced study piece Flow won a 21C Korean Music Project of West Javanese gamelan. He has written in 2010, and was presented in New York the several pieces for the contemporary group following year. Gamelan X—in which he serves as Artistic Director—that feature Sundanese, Balinese, Brazilian, and Western musical forms and instrumentation. In early 2017 his chamber is a composer, pianist, piece Kawitan was premiered by the new Yunxiang Gao and pipa player from China. She graduat- music group Wild Rumpus, and Tablalan, ed from Central Conservatory of Music in for tabla and Sundanese gamelan, was Beijing with a B.A. in Composition. During premiered by members of the UCSC her undergraduate study at CCOM, her gamelan ensembles. multimedia piece Yin won second prize in the 2005 MUSICACOUSTICA festival. Her Vibreum pipa concerto Qin Yong was awarded third I have long been fascinated with extended prize in the 2009 Beijing International Music techniques on the vibraphone, and have Festival and Academy. Two years later she only recently compositionally explored the continued graduate study in Integrated haegeum. The bending and vibrato that are Composition, Improvisation and Technology common staples in traditional haegeum Kim is currently pursuing a doctorate at at the University of California, Irvine. She repertoire are reminiscent of the vibraphone’s the University of California, Santa Cruz. was invited to perform the pipa concerto similar capabilities. Vibreum began as a He attained a Master’s in composition at with the Stanford Orchestra during the 2012 work in progress earlier this spring, after I Mannes College, in the class of David Loeb, Stanford Pan-Asia Music Festival. Her sym- attended Soo-Yeon Lyuh’s haegeum and a B.A. in traditional Korean music at phonic works, Picture of Borderland and workshop at UCSC. I was fortunate enough Korean National University of Arts, studying Beijing Opera – Sheng, Dan, Jing, Chou, to have her read the first draft of this with Dae-ung Baek, Il Won, Jun-il Kang, were performed by the UC Irvine orchestra piece (with myself playing vibraphone), and Jun-hee Lim. Kim also works as a choir under the direction of Christopher Dobrian. and enthusiastically felt there was more conductor at the Korean United Methodist She is currently pursuing a Doctor of Musical exploration to be done within the concept. Church of Santa Clara Valley. Arts in World Music Composition at the The overall tempo and pace of Vibreum is University of California, Santa Cruz. determined solely by the swelling of the Metamorphosis of Sanjo performers’ vibrato. These pulsations have Sanjo is a recent style of traditional Korean Chaos remained a core theme throughout the music, developed by instrumental virtuosos. compositional process, and both performers In ancient Chinese prose, 乱 or Luan has Among other qualities, it is remarkable use their respective vibrato techniques to eight different meanings. The ancient poem for organic melodic elaboration and the create melodies that often operate on the Cao Sui Lun Zhan presents Luan as complete use of sigimsae (pitch treatment and same “wavelength.” — E.G. disorder; Da Xie Zhong Shu Shu: confusion; ornamentation). The term sanjo, literally Tang Hua Yuan Ji: turmoil and upheaval; meaning “scattered melodies,” inspired Ling Guan Zhan Ji: rebel; Lou Shi Ming: to is a music director, Sanguk Kim me to write this work by reconstructing the disturb, destroy; Qi Yuan Lie Zhuan: composer, and conductor interested in scaffolding of traditional melodies, timbres, unstable, peaceful; and Jiao Zhan Shou Ce: multidisciplinary and world music. Along and acoustics. With a blend of bowed flurried and mentally disordered. This piece with the film Banja-jeon, he has worked instruments from different traditions, and is a manifestation of all the poems. It is for animations, plays, operas, and musicals through highlighting their differences, I seek inspired by a meditation trip to Tianchi in many roles. His co-production Goghs, to display an interaction between cultural Lake on the Changbai Mountain, and the a collaboration of artistic drawing and polarities. Pairing Korean sigimsae with composer’s internal state at the time. — Y.G. musical theater, was performed successfully Western extended techniques was a from 2011 to 2014 in Seoul. He has a strong pleasure during the compositional process. foundation in traditional Korean music, as — S.K. he started playing geomungo at the age of 12. Kim’s music has been performed by

30 of mourning, Romans similarly had a friend sonic atmosphere. The consistent, fine, tone wipe one’s tears with a piece of cloth and color variations give greater prominence to squeeze them into a small glass or earthen the rich timbral quality of the beopgeum bottle, which was carefully preserved as a (12-string gayageum). Each instrument keepsake of friendship and sorrow. I included creates a continuous stream of notes, while this movement in The Garden series to simultaneously supporting each other’s hold all the memories during my years in material. The structural technique of cyclic Santa Cruz, whether frustrating experiences tension and release was inspired by Korean or joyful moments. — S.K. traditional music. — B.SH.

Sarang Kim is a composer, pianist, and percussionist based in the San Francisco Bay About the Conductor Area. She is currently a Doctor of Musical Arts candidate at the University of California, Santa Cruz. As a young composer and multi-instrumentalist, Sarang is investigating a creative, cross-cultural approach to timbre, and exploring other syntheses of East and West.

Kim has written works blending influences from Korea, China, Japan, Vietnam, Indonesia, and Thailand. Her current output includes Oblivion for the JACK Quartet and Lightbulb Ensemble, Hu-rue-da for four Korean BAE Seung-Hye is a South Korean instruments, Contrasts for pipa, guitar composer. Her interest in music began with and percussion, A Prayer for Gayageum, the piano at age five, and composition at Violin and Percussion, and Colors and age eight. Bae completed her undergraduate Drops for nine gamelan instruments. Her studies in music at Seoul National University Nathaniel Berman maintains a research focuses on techniques through before attending the Conservatoire National diverse range of activities as a performer which instruments, scales, tunings, and Supérieur de Musique et de Danse in Paris, and educator in the San Francisco Bay Area. musical aesthetics from these countries where she studied composition. She has Berman received his Master’s degree from can be successfully integrated with Western returned to Seoul National University for her UC Santa Cruz, where he studied conducting avant garde. doctoral degree. Phase for String Orches- with Nicole Paiement. His first instrument tra and Piano was premiered by the Seoul was trumpet, and he grew up playing duets Tears in Your Bottle is the fourth Baroque Ensemble in 2008. Other works with his dad, a jazz pianist and singer. On movement of The Garden, a set of descriptive include Lightness for Violin and Piano and the UCSC faculty since 2007, he conducts pieces written in 2015. The original work Willow Varies. Bae is keen on finding cre- the Wind Ensemble and Concert Choir. includes three movements: Gypsophila ative ways to present her work to the public, Berman also directs the Santa Cruz County Elegans, Toys and Hummingbirds, including plays and film soundtracks. In Youth Symphony and has appeared as guest and Piano Fountain. The Garden 2016 she started learning the Korean tradi- conductor of the Santa Cruz County metaphorically expresses a private, secure tional court song jungga, Symphony in annual collaborative concerts place to collect things meaningful to me, in order to become more adept at with the Youth Symphony. He served as things that I cherish and hope to remember. understanding and reinterpreting ancient Assistant Conductor of Peninsula Symphony styles. By doing so, she aims to open a new from 2012 to 2016. A strong advocate for King David sang “You keep track of all my dimension of modern music. new music, Berman is the Artistic Director sorrows. You have collected all my tears and conductor of the San Francisco-based in your bottle; are they not in your book?” Flowing Tone new music ensemble Wild Rumpus. (Psalm 56:8). This reflects a custom in his This piece is based on an ancient Middle He appears as conductor on composer era, to collect tears and preserve them in a Eastern scale. Each section consists of different Jenny Olivia Johnson’s Innova album small bottle as a memento to grief. In times pitches that together create a pervasive Don’t Look Back.

31 ABOUT THE MUSICIANS Premiere Concert III: SPROUTING INTO

Festival Ensemble Korea

PARK Jeong-min is a geomungo player currently pursuing her Master’s at Seoul National University. After graduating from Gugak National High School, she devoted KIM Chul-jin is a gayageum player and herself to learning the classical, and inherently member of the Seoul Gayageum Ensemble. Korean musical art form of jeongak. She has He has performed with numerous orchestras, also studied the intricate aesthetic ins and including the KBS Korean Music Orchestra, outs of the sanjo style from Korean music Seoul National University Korean Music masters. As a senior performer, Park has Orchestra, and Changwon Philharmonic concentrated her efforts on becoming one Orchestra. Recent international appearances of the most honest and reliable gugak include the Cap Ferret International Music musicians of her era. She has also performed Festival in France. Kim has been awarded with many musicians from Thailand, the multiple times at both National Ureuk US, and Japan, and is now a member of Gayageum Competition and Dong-A Korean Ensemble Phase. The group is addressing Traditional Music Competition. He received the barriers between Korean music and the a B.A. degree from Seoul National University, avant garde, while maintaining their roots where he is currently completing his in tradition. Master’s degree. Soo-yeon Lyuh [see Premiere Concert I] KIM Soo-yeon [see Premiere Concert I] KIM Yejina [see Premiere Concert II] Borromeo String Quartet [see Premiere Concert I]

New York New Music Ensemble [see Premiere Concert II]

32 Closing Concert : LIVING TRADITION – All Premieres Creative Traditional Orchestra of the National Gugak Center, Korea Sunday, October 29, 2017, 3:00 PM Music Center Recital Hall

PROGRAM INTERMISSION * World Premiere, written for the 2017 Pacific Rim Music Festival * * New York Philharmonic’s Very Namdo Arirang A Long Adventure of Choco* Young Composers BAEK Daeung **LEE Sangjin

Dreams of the Traveller* Currents* George Lewis **Madeline Schmidt This program is also presented at the Cal Performances at Zellerbach Hall Ten Thousand Blooms, Falling Dreams of Falling* at UC Berkeley on October 28, 3:00 PM, Petals* Shih Hui Chen David Evan Jones and at the National Gugak Center in Seoul on December 1, 3:00 PM. Audible Numbers, 들리는 수 * Singing Inside Aura III* Edmund Campion Viola Concerto Chinary Ung Susan Ung, Viola 청개구리, Green Frog* LEE Geonyong HEO Jung-seung, Pansori

CHUNG Chi-yong, Guest Conductor PARK Chi-wan, Artistic Director ABOUT THE COMPOSERS CLOSING Concert: LIVING TRADITION

honors include a MacArthur Fellowship American Culture Award. Lewis is the co-editor (2002), a Guggenheim Fellowship (2015), of the two-volume Oxford Handbook of a United States Artists Walker Fellowship Critical Improvisation Studies (2016), and his (2011), an Alpert Award in the Arts (1999), opera Afterword (2015), commissioned by and fellowships from the National Endow- the Gray Center for Arts and Inquiry at the ment for the Arts. In 2015, Lewis received the University of Chicago, has been performed degree of Doctor of Music (DMus, honoris in the United States, United Kingdom, and causa) from the University of Edinburgh. Czech Republic.

Dreams of The Traveller (2017, final version) The compositional process for this work draws from the concept of hypertext, and from my work in interactive computer music, in which my real-time systems create BAEK Daeung (1943–2011) was a “behavior sets,” complexes of elements that theorist and educator of traditional Korean seek out dissonance within the diatonic, music. His compositions make frequent use exchanging structures and recombining with of folk songs, in an effort to encourage wider other sets, and recurring in new forms to accessibility to this repertoire. He employed evoke reminiscences in listeners. The blend modes and rhythms inherent in a broad of Western and Korean elements in this work range of Korean music, and produced a large comes from the identification of important repertoire of works that combine Korean techniques of sigimsae, that I have already with other Asian and Western instruments. been using in embryonic form in a number A member of the Association for the Ad- of works since 2013. — G.L. Namdo Arirang (1994) vancement of Creative Musicians (AACM) — (Arirang of the southern region) since 1971, His work in electronic and ­­— for the National Gugak Center Orchestra­ computer music, computer-based multimedia Arirang is the most renowned Korean folk installations, and notated and improvisative song, designated the Intangible Cultural forms is documented on more than 150 Heritage of Humanity by UNESCO in 2012. recordings, and has been presented by Baek Daeung (1943–2011) collected folk the BBC Scottish Symphony Orchestra, songs across Korea, and composed music Ensemble Dal Niente, London Philharmonia based on them. He cherished the life force Orchestra, Radio-Sinfonieorchester Stuttgart, of songs from the field. The piece uses a London Sinfonietta, Talea Ensemble, Ensem- dual influence: Jindo arirang from Jeolla ble Pamplemousse, Wet Ink, American Com- province, and Milyang arirang from posers Orchestra, International Contem- Gyeongsang province. Although non-Koreans porary Ensemble, Harvestworks, Ensemble might find the distinction between the two Either/Or, 2010 Vancouver Cultural Olympiad, regions difficult to discern, this composition IRCAM, and others. Lewis has served as aesthetically manifests that contrast. Ernest Bloch Visiting Professor of Music, Central in the work are the instrumental University of California, Berkeley; Paul Shih-Hui Chen is originally from solos presented over a six-beat rhythmic Fromm Composer in Residence, American Taiwan, and has lived in the United States cycle. Although written for a traditional Academy in Rome; and Resident Scholar, since 1982. Having received her doctorate Korean orchestra, the piece has also been Center for Disciplinary Innovation, University from Boston University, she has continued arranged for Western instruments and of Chicago. Lewis received the 2012 SEAMUS her learning since. Seeking a deeper performed in Shanghai, China. Award from the Society for Electro-Acoustic understanding of her native culture and Music in the United States, and his widely music, Chen spent two years in Taiwan George E. Lewis is the Edwin H. Case acclaimed book, A Power Stronger Than studying indigenous and Nanguan music Professor of American Music at Columbia Itself: The AACM and American Experimental (2010 Fulbright Senior Scholar and 2013 University. A Fellow of the American Acade- Music (University of Chicago Press, 2008) Taiwan Fellowship, affiliated with the my of Arts and Sciences and a Corresponding received the American Book Award and the Institute of Ethnology, Academia Sinica). Fellow of the British Academy, Lewis’s other American Musicological Society’s Music in She has played an important role in

34 organizing opportunities for musicians from David Evan Jones is a composer and Taiwan, China, and Southeast Asia to theorist writing chamber music, chamber present at festivals in the United States. opera, computer music, and computer- assisted compositions. Some of his theoretical In addition to garnering a Koussevitzky and compositional work explores structural Music Foundation Commission, a Guggenheim relationships between speech and music. Fellowship, and an American Academy in His theoretical articles have appeared in Rome Prize, her compositions have been Perspectives of New Music, Computer Music performed widely throughout the United Journal, and elsewhere. His compositions States and abroad. Chen’s compositions are published by American Composers have brought her into contact with groups Editions and Dorn Publications, and on like the Philadelphia Orchestra, Cleveland compact disks from Centaur Records, Wergo Orchestra, Boston Modern Orchestra Foundation, Asian Cultural Council, Martha Records, Contem- Project, Cleveland Chamber Symphony, Baird Rockefeller Fund for Music, Inc., Ford porary Recording and Utah Symphony. Chen serves on Asia Foundation, Guggenheim Foundation, Joyce Studios, Capstone Society Texas Center’s Performing Arts & Foundation, and The National Endowment Records, Musical Culture Committee. She is the department for the Arts. In 2014, he was awarded The Heritage Society, chair of composition and a professor at the John D. Rockefeller 3rd Award by the Asian and Composers Shepherd School of Music, Rice University, Cultural Council. He is currently Distin- Recordings Inc. where she also chairs the Syzygy New Music guished Professor of Music at the University Jones’ compositions concert series. Recent projects include A of California, San Diego, and Presidential have been Plea to Lady Chang’e for Chamber Orchestra Fellow: Senior Composer in Residence at recognized by and Nanguan pipa; Fantasia on the Theme Chapman University. He was a former numerous grants of Guanglingsan for Zheng and Chinese president of Khmer Studies Institute, 1980-85, and awards Orchestra; three new orchestral works; Advisory board of The Cambodia-American and have been and Messages From a Paiwan Village, a Heritage Museum & Killing Fields Memorial, performed 50-minute storytelling musical drama. Her Chicago, and Founder of Nirmita throughout the music can be heard on Albany, New World, Composers Institute. United States and Europe, and in Korea, and Bridge Records. Taiwan, Japan, and Israel. He has served as Singing Inside Aura – III composer-in-residence at the University of Ten Thousand Blooms, Falling Petals — for amplified singing violist and York, England, and taught for several years —for Traditional Korean Orchestra Korean traditional orchestra at Dartmouth College, where he co-founded Although the title of this piece suggests This work has two previous versions, one the Dartmouth Electro-Acoustic Music imagery, it serves as a point of departure with a large chamber orchestra, Boston Master’s program. Jones is currently for a more abstract study in continuity. Modern Orchestra Project, and another for Professor of Music at the University of While all movements have distinct characters, a chamber ensemble from New York City, California, Santa Cruz. the materials are interconnected. In this Da Capo Chamber Players. All three have three-movement work, I hope to create a been composed for instrumentalists using Dreams of Falling musical space that integrates Western their untrained voices. Although I have been As I wrote this piece (and as I read the world compositional processes of layering and taking this approach for over two decades, news) I had dreams of falling —sometimes counterpoint with Asian materials and only during the past four years have I dark, sometimes illuminating. In English we gestures. For this reason, while the first two allowed the soloist’s line to remain similar say we “fall” asleep or “fall” in love. But we movements are strictly notated, the third in construction, while creating several also “fall” from grace or onto hard times. movement incorporates a semi-improvisational realizations of the piece to explore distinct For good or for ill, “falling” means a loss style to allow freer and more idiomatic sound worlds. The text is a combination of of control. There is a large-scale wavelike expression with traditional instruments. phonemes, some Sanskrit, Pali, and Khmer pattern to the pitch registers of this piece. —S.C. words and phrases, as well as whistling and Some waves are truncated, others complete. other vocal techniques. The sung line is As I worked I found myself exerting much Chinary Ung, a Cambodian-American sometimes directly contrasted or combined more notational detail on the gradual and composer, was the first American composer with the viola material. Susan Ung has been staged ascents than on the briefer and more to win the coveted Grawemeyer Award collaborating with me for many years and relaxed descents. Ignorant of most of the (1989) for his piece Inner Voices. He has also is a master of vocalization while playing subtleties of Korean culture, music, and received awards and commissions from the viola. She has performed as a soloist in instruments, I experienced the composition Dreams of Falling The Kennedy Center (Friedheim Award), The many US and international venues, and is of as a fascinating and American Academy of Arts and Letters, Asia mainly known for her work in contemporary challenging journey through the Gugak music. — C.U. orchestra—through a varied terrain of uncertain orchestrations, textures, and forms.

35 ABOUT THE COMPOSERS CLOSING Concert: LIVING TRADITION

Some of the most rewarding ways of Symphony, Campion was commissioned for the course of a year. Feeling grateful to have “falling”—of losing control—first arise from the The Last Internal Combustion Engine, been given the chance to participate in such challenging and rewarding collaborations. I written for full orchestra, Kronos Quartet, a special and challenging project! Thanks to am deeply grateful to the Pacific Rim Music and electronics. Joshua Kosman of the San Professor Hi Kyung Kim and to the National Festival Director Hi Kyung Kim and Francisco Chronicle called the piece “a vivid Gugak Center in Seoul for providing me with to Director General of NGC, KIM Hae-sook and richly imagined concerto.” In 2015, this opportunity. And sincere thanks to the for the opportunity provided by their shared the famed Ensemble Intercontemporain accomplished musicians of the Contempo- vision of this extraordinary Gugak co-commissioned Campion and audiovisual rary Gugak Orchestra who were so generous Orchestra project. artist Kurt Hentschläger for the 25-minute, and willing to share their expertise. — E.C. Cluster X. The multi-media work was Dreams of Falling is composed for and premiered at the Philharmonie de Paris in LEE Geonyong was born in Pyongannam- dedicated to the members of the National October of 2015 and toured the United do, Korea, in 1947, the fourth son of a pastor Gugak Center Contemporary Orchestra. States. A recent commission from pianist who possessed great musical ability. Lee — D.E.J. Marilyn Nonken was inspired by Gèrard started to compose songs at age twelve, Grisey’s Vortex Temporum. As a 2016 and played oboe in his middle school band. Guggenheim Fellow, Mr. Campion composed He completed undergraduate studies with for the Korean Traditional Contemporary Sung-Jae Lee at Seoul National University, Orchestra, an ensemble that features and in 1976 went to study composition with 35 musicians performing on ancient Heinz Werner Zimmermann at Frankfurter instruments from Korea. Musikhochschule, Germany. He later re- turned to Korea and taught at Seoul National Audible Numbers, 들리는 수 * University and Korea National University Seeking a balance between instruments and of Arts, where he served as president from instrumental techniques better adapted to 2002 to 2006. intimate solo and chamber performances than to large orchestral settings. Coming to Though he mainly studied modern European understand how the old instruments work music, he found his own style by integrating and how people have played them through traditional Korean and contemporary the centuries. Working with the musicians Western languages. He is one of the pioneers and historians as they patiently helped me of this amalgamation. The seven-piece is currently Edmund Campion to better understand the relationships of chamber series Song in the Dusk and Trio for Professor of Music Composition and Director music to culture and musician to instru- Kayagum, Violin and Cello (commissioned at the Center for New Music and Audio ment. Connecting my career-long search by Pacific Rim Music Festival 2010) are Technologies at the University of California, for new ways to create music with emerging examples of this continuing tendency. Berkeley. He has received the Rome Prize, technology with the simple and logical Lee is well-known for his traditional instru- the Lili Boulanger Prize, the Paul Fromm design of Korean instruments. Using and mental writing. He has composed numerous Award at Tanglewood, the Goddard improving the computer program I helped solo pieces for kayageum, komungo, and Lieberson Fellowship given by the American design to assist with the composition of haegeum. His Variations on Hanobaeknyun, Academy in Rome, and in 2016 a Guggenheim the music. Thinking of tones and durations for kayageum and haegeum garak (traditional Fellowship. Recent commissions include the as numerical relationships that express melodic formula), is one of the pieces most 2011 Commande d’etat for Wavelike and themselves through repetition, iteration, beloved by performers. He has a long list Diverse, written for Les Percussion des and transformation. Combining the simple Strasbourg and released on the ensembles Pythagorean tone space with the complex, 50th anniversary Universal CD collection; expressive, microtonal, and noisy ornamen- Auditory Fiction (2011), commissioned by tation space. Letting the instruments sound Société Générale for Radio France; Small and speak just as they have for thousands Wonder (The Butterfly Effect) (2012), of years, while at the same time striving for commissioned by the Serge Koussevitzky something never before heard. Traveling Foundation for the San Francisco Contem- for the first time to Korea, connecting with porary Music Players; and Auditory Fiction II people, and finding their minds open and (2014), commissioned by the ECO Ensemble anxious to live in the present. Finding my for the Venice Music Biennale. In 2012, while already high level of respect for Professor Composer in Residence with the Santa Rosa Hi Kyung Kim growing exponentially through

36 of traditional orchestral works, from which to a chocolate factory. Choco and his new correct or incorrect end point, it seems as Masusan-Droengchik, Sangok (Song of the friend White Choco tried to escape from the though the rough waters that brought us Mountain), and Doduri for Autumn are factory but failed. They were manufactured to serene sands have become all worth- presented most frequently. into chocolate products. I hope this story while. The current nudges us towards a comes through in the music. — L.SJ. welcoming future, if only we move with its Green Frog, 청개구리— for pansori force rather than opposite to it. Trying to singer and gugak orchestra reflect the movement and complexity of This piece is a setting of a poem by Ki Man currents, I structured my piece to undulate Paik, Green Frog. The poem tells the story in a syncopated manner. Representing of the green frog, a very familiar legend to the shallowness and depth of the sea, my Koreans, featuring plain language and rich composition unfolds in unpredictable ways. pansori flavor. I love the poem, and can still One moment, we are floating over to a coral remember the text after five decades. I sing reef- and in the next, the sirens have lured us some of my own melodies when reciting it. towards the rocks. — M.S. The singer in the piece narrates the poem using pansori-inspired tunes, many of which are my originals. The orchestra plays ABOUT THE CONDUCTOR a supporting role, at times depicting the sound of the frog and developing it in several ways. — L.GY. CHUNG Chi-Yong Madeline Schmidt is a young artist, One of the most New York Philharmonic’s musician, and composer, who was born on a sought-after Korean Very Young Composers leap day. A member of the New York Philharmonic’s Very Young Composers conductors of program for eight years, she has learned his generation, everything she knows and loves about CHUNG Chi-Yong music there. She has had multiple perfor- is highly regarded mances of her compositions, including one for vivid inter- at the Tribeca Film Festival. Maddy enjoys pretations, deep writing, drawing, singing, painting, compos- musical insights, ing, playing an assortment of instruments, strong ensemble and laughing. She deeply loves her family, leadership, and who has always been extremely supportive, virtuoso baton and is grateful to all her teachers at the Very technique. He is particularly well-known as Young Composers program. She especially a specialist in modern Western and Korean wants to thank Jon Deak, the creator of the music, including the works of Isang Yun. program that gives extraordinary opportuni- ties to young people like her; and to After studying composition at the prestigious Theodore Wiprud, who has helped guide her Seoul National University, he attended LEE Sangjin is a sixth-grade student at through the process of writing this piece. Michael Gielen’s conducting class at the Geumjeong Elementary School in the city Maddy has been thrilled to work with Jon, Salzburg Mozarteum in Austria. Chung of Gunpo, South Korea. As a student in the Theodore, and all of the wonderful people at served as Assistant Conductor of the Very Young Composers program at Kum- the program, who have led her to expand darak Saturday Cultural School, he has her artistic toolbox. Salzburg International Summer Festival, written three pieces: Synthesis (2014), The and was awarded the Austrian Culture Wondrous Journey of Saera (2016), and CURRENTS (2017) Ministry Award upon graduation. Memories of My Grandpa (2016). His new Differing from the past, the current guides piece, The Long Adventure of Choco (2017), us away. Swimming against a current results Following appearances as guest conductor was composed specially for the in a greater likelihood of becoming caught of the Radio Symphony of Leipzig, Prague Contemporary Traditional Orchestra. in a riptide, and perhaps deposited in a Radio Symphony, Munich Symphony, trench. When we allow ourselves to follow Michigan State Symphony, and Russian The Long Adventure of Choco the current—letting our inhibitions simmer Philharmonic, he made his Korean debut This piece deals with a cocoa fruit named away—we float along in unpredictable with the Seoul Philharmonic in 1992. Chung Choco. He lived on a peaceful island, listen- turbulence. Our internal compass fights for has conducted numerous Korean orchestras, ing to the song of the wind. One day, people direction. Eventually, we will reach a shore. including the KBS Symphony, Bucheon came who kidnapped Choco and took him Regardless of whether we encounter the Philharmonic, Korean Symphony Orchestra,

37 Daegu Philharmonic, Daejon Philharmonic, from School of Korean Traditional Arts, the Vermeer Quartet, she became interested and the Changwong Philharmonic, where Korea National University of the Arts. He and involved in performances on various he served as music director. won a Gold prize from the National Gugak Asian and Indonesian instruments, which Center “Gugak Competition” in the field informs performances of her husband’s Chung’s past positions include the of vocal music. In 2010, he sang the entire music. While doing graduate work at chairmanship of the Korean Conductors part of pansori, Heunboga (arranged SUNY Stony Brook she began a working Association. Among his many distinctions by Kim So-Hi). He has played the relationship with maestro Arthur Weisberg are the Soo-Keun Kim Culture Award, leading role in several plays including and violist John Graham. Later, she helped Korean Culture Ministry Young Artist Prize, Gongmudohwaga, Sitgeum. HEO is also manage a contemporary group conducted by Music Association of Korea Award, and working as a gugak instructor at the Weisberg, Ensemble 21, which made several Korean Music Journalists Association Award. Jindo National Gugak Center. recordings in Phoenix. She also worked with Chung currently directs the School of Music Harvey Sollberger as a manager and principal at the Korean National University of Arts, violist of the forward-looking La Jolla and Incheon Philharmonic. Symphony in California.

Touring with the music of Chinary Ung is a ABOUT THE SOLO PERFORMERS frequent part of her life, with festivals and concerts in many venues across the U.S., and in New Zealand, Australia, South Korea, Cambodia, Vietnam, Thailand, and Taiwan. She has been part of several premieres and recordings of her husband’s newest works, including Aura (large chamber ensemble), Spiral IX (baritone, viola, and percussion), Spiral XI (solo viola/voice), Spiral XII (chamber ensemble with chorus, soprano soloists, and dancers), and Akasa (pipa, viola, cello, Susan Ung’s interest in contemporary and piano). All of these works include music for the viola began as a collaboration extensive vocalization, including singing with her husband, Chinary Ung, on his first and whistling, while playing the viola. She solo work for cello/viola, Khse Buon, in has recordings on Summit, New World, CRI, 1980. The opening of the work is based on Cambria, and Bridge Records. Her recording her own viola improvisation inspired by of a newly revised Khse Buon and Child HEO Jung-Seung Indian saranghi music. While majoring in Song (alto flute, viola, and harp) received HEO Jung-Seung, a pansori singer of the viola performance at Northern Illinois high acclaim from Allan Kozinn of Jindo National Gugak Center, graduated University and studying with members of The New York Times.

NATIONAL GUGAK CENTER ARTISTS

Creative Traditional Orchestra Haegeum: Ahn Kyung-hee, Principal; Sogeum: Im Joon-hyung Lee So-ra, Associate Principal Artistic Director: Park Chi-wan Kim Jun-hee, Kim Jin, Ahn Hye-jin, Yanggeum: Chun Myung-sun Guest Conductor: Chung Chi-yong Cho Hye-ryung, Go Yoo-houn Concertmaster: Park Young-seung Gayageum: Lim Eun-jung, Principal; Music Librarian: Kim Gi-bum Orchestra Manager: Jun Kyu-hak, Lee Ji-hye, Associate Principal Lim Kyu-soo Seo Eun-yeong, Choi Bo-ra, Lee Ju-in, Court Music Orchestra Lee Ji-eun Jeongga: Lee Jung-kyu Piri: Lee Seung-heon, Principal; Lee Jun-ah, Concertmaster Ahn Eun-kyung, Associate Principal Geomungo: Kim Joon-young, Principal; Lim Kyu-soo, Hwang Se-won, Jin Park Young-seung, Lee Sun-hee, Jindo National Gugak Center Yun-kyong, Kim Bo-mi, Park Gye-jeon Seo Jeong-gon, Joo Eun-hye Pansori: Heo Jung-seung

Daegeum: Kim Jung-su, Principal; Ajaeng: Lee Hwa-yeon, Principal Folk Music Group Lee Myung-hoon, Associate Principal Yoon Na-geum, Bae Mun-kyung, Samulnori: Nam Ki-moon, Lee Dae-won, Joo Min-kyung, Ryu Keun-hwa, Choi Hye-rim Kim Su-yong, Kang Byung-hyok Lee Pil-ki, Kim Yong-su Percussion: Choi Yun-jung, Principal Dance Theater An Hye-ryung, Seo Su-bok, Seungmu: Choi Byeong-jae, Yang Jae-chun, Hwang Young-nam, Choreographer 38 Kim Tae-joung FESTIVAL PERSONNEL

Artistic Director: Hi Kyung Kim Front-of-House Management: Alison Lucas, Chief of Staff, Tracye Lawson, Jessica Abramson Arts Division, UC Santa Cruz Production Manager: David Claytor Music Department Staff: Ministry of Culture, Sports, and Production Team: Alice Szeto Gallup, Susan Gautieri, Tourism, Republic of Korea Vedran Mehinovic, Lisa Beebe, Dave Morrison, Lisa Beebe, Yunxiang Gao, Edward Garcia, Cory Graves-Montalbano Consulate General of the Republic Sanguk Kim, Caitlin Taylor, of Korea in San Francisco Mary Montgomery Sound Engineer: Arman Boyles KIM Hae-Suk, Director-General, Arts Division Development: Lighting Engineer: Maria Gonzalez National Gugak Center, Republic Diane Syrcle of Korea Backstage Manager: Arts Division Research Development: Dena Giovinazzo, Nicholas Hammond Michael S. Kang, President, Stephanie Moore The Korea Times, San Francisco Recording Engineer: William Coulter Office of Sponsored Projects: Anatole Leikin, David Evan Jones, Amber Burke, Suzanne Ziegler Electronic Technician: Scott Makson Dard Neuman, Bruce Kiesling, Alice Szeto Corporate and Foundation Relations: Piano Tuning: Jeff Potter Music Department Advisory Committee Lynne Stoops LEE Geonyong, KIM Hae-Suk, Arts Division Business Office: VERY SPECIAL THANKS TO: Theodore Wiprud, Cindy Cox, April Kerkes, Ashley Gullo, Edmund Campion Jillian Casillas George Blumenthal, Chancellor, Planning Committee University of California, Santa Cruz Financial/Accounting Office: Mariela Tobon Susan Solt, Dean, Arts Division, UC Santa Cruz Promotion: Sabrina Eastwood Dard Neuman, Chair, Marketing: Maureen Harrison Music Department, UC Santa Cruz

Graphic Design: Julie Rogge Sean Keilen, Provost, Porter College

39 music dance theater 2017/18 Cal Perform ances SEASON UNIVERSITY OF CALIFORNIA, BERKELEY

Korean National Gugak Center Creative Traditional Orchestra

TWO PROGRAMS! Susan Solt 3pm Dean of the Arts New works by Edmund Campion, Shih-Hui Chen, David Evan Jones, [email protected] Hi Kyung Kim, George Lewis, http://arts.ucsc.edu/administration Chinary Ung, and Geon Yong Lee 831-459-4940 8pm Traditional Korean Court and Folk Music This performance is made possible, In association with the Pacific Rim in part, by donors to the Arts Division. Music Festival at the University of California, Santa Cruz. Join them and give online: arts.ucsc.edu/giving

Learn about our upcoming programs: arts.ucsc.edu/events

Join our email list! Oct 28 ZELLERBACH HALL [email protected] UC BERKELEY (831) 459-2787

Follow us on Facebook, Instagram, and Twitter to get convenient, regular updates on your News Feed.

Korean National Gugak Center Creative Traditional Orchestra concerts are supported, in part, by the Ministry of Culture, Sports, and Tourism of Korea.

Media Community Partner: Partners:

Season calperformances.org Sponsor: 40 music dance theater 2017/18 Cal Perform ances SEASON UNIVERSITY OF CALIFORNIA, BERKELEY SPONSORS

Arts Division, University Creative Traditional Orchestra of the Korean National Gugak of California, Santa Cruz National Gugak Center, Korea concerts are supported, in part, by the Ministry Center Creative Arts Research Institute, of Culture, Sports, and Tourism of the University of California, Republic of Korea. Traditional Orchestra Santa Cruz Music Department, University of California, Santa Cruz TWO PROGRAMS! Porter College, 3pm University of California, New works by Edmund Campion, Santa Cruz Shih-Hui Chen, David Evan Jones, Hi Kyung Kim, George Lewis, UC Santa Cruz Foundation Chinary Ung, and Geon Yong Lee Ministry of Culture, 8pm Sports, and Tourism, Traditional Korean Court Republic of Korea and Folk Music National Gugak Center, Republic of Korea In association with the Pacific Rim Music Festival at the University of Consulate General California, Santa Cruz. of Republic of Korea, San Francisco

The Korea Foundation

The Korea Times, San Francisco

Hanmi Bank

Barbara Cushing Imbrie Oct 28 ZELLERBACH HALL Andrew Philip Imbrie UC BERKELEY and Sherryle Fawx

David E. Kaun

John Sackett and Hi Kyung Kim

Stephanie Moore

Marcelene Santos

Roberta Howe and Paul Slocombe

Korean National Gugak Center Creative Traditional Orchestra Lisa Marie Beebe concerts are supported, in part, by the Ministry of Culture, Sports, and Tourism of Korea. Yunxiang Gao

April Zilber

Media Community Eileen S. Hamilton Partner: Partners: Dale Johnson and Isabel Gruhn

Sabieng Season calperformances.org Sponsor: Steve and Mia Kang 41 SCHEDULE

MON 23 OCT TUE 24 OCT WED 25 OCT THU 26 OCT FRI 27 OCT SAT 28 OCT SUN 29 OCT 1:15PM Colloquium: 2:00PM Edmund Gilnori Campion Parade 3:00PM CLOSING 4:00PM CONCERT Graduate Living Student Tradition Composer post-concert Forum talk

6:30PM Gilnori Parade 7:30PM 7:30PM 7:30PM 7:30PM OPENING CONCERT CONCERT CONCERT CONCERT II III IV

From the Into Into Being Sprouting Root Blossoming Into

Music Center locations Plaza Perf. Studio 131 Recital Hall 101

pacificrim.ucsc.edu

42 PAGE TITLE

CONCERTS ADDITIONAL EVENTS COMPOSERS ENSEMBLES AT UC SANTA CRUZ J. S. Bach Creative Traditional Wed. October 25 – 7:30 PM BAEK Daeung Orchestra at National Opening Concert: FROM THE ROOT Monday, October 23 – 1:15 PM Edmund Campion Gugak Center, Korea Traditional Court Music, Folk Music & Dance Colloquium: Music Center Performance Richard Carrick PARK Chi-Wan, artistic Studio, Room 131 Benjamin Carson director Thurs. October 26 – 7:30 PM Edmund Campion, “Audible Numbers” Shih-Hui Chen Premiere Concert I: INTO BLOSSOMING CHOE U-Zong National Gugak Center Composers: J.S. Bach, Cindy Cox, Kurt Wednesday, October 25 – 6:30 PM Cindy Cox Chamber Music Ensemble Rohde, Vedran Mehinovic, Andrew Imbrie, Opening Gilnori Parade: David Cope Sebastian Currier, Theodore Wiprud, LEE Korean Percussion Ensembles Sebastian Currier Festival Ensemble Korea Young-Ja, Hi Kyung Kim Music Center Plaza Chaya Czernowin Karlton Hester Borromeo String Quartet Fri. October 27 – 7:30 PM Friday, October 27 – 4:00 PM Andrew Imbrie Premiere Concert II: INTO BEING Graduate Student Composer’s Forum David Evan Jones New York New Music Composers: Laurie San Martin, Benjamin Hi Kyung Kim Ensemble Music Center, Performance Studio, LEE Young-Ja Carson, David Cope, Chaya Czernowin, Room 131 George Lewis UC Santa Cruz Percussion Karlton Hester, CHOE Uzong, Larry LEE Geonyong Ensemble Polansky, Richard Carrick, LIM June-Hee Sunday, October 29 – 2:00 PM LIM June-Hee William Winant, director Gilnori Parade: Vedran Mehinovic Sat. October 28 – 7:30 PM Korean Percussion Ensembles Larry Polansky UC Berkeley EGO Ensemble Young Composer’s Edition: Music Center Plaza Kurt Rohde SPROUTING INTO Laurie San Martin Monsori Samulnori Composers: SONG Jeong, Jon Yu, Addie Sunday, October 29 – 5:00 PM Chinary Ung Ensemble Camsuzou, Pablo Rubio-Vargas, Samuel Post-concert Talk after the Theodore Wiprud Fibich Yulsman, Ed Garcia, Sanguk Kim, Closing Concert Yunxiang Gao, Sarang Kim, BAE Seung-Hye Music Center Recital Hall GRADUATE CONDUCTORS STUDENT Sun. October 29 – 3:00 PM COMPOSERS Nathaniel Berman Closing Concert: CHUNG Chi-Yong AFFILIATED EVENTS Addie Camsuzou LIVING TRADITION – All-Premiere Eduardo Leandro Presented by Cal Performances BAE Seung-Hye David Milnes Composers: BAEK Dae-ung, Shih-Hui Chen, Ed Garcia David Evan Jones, Edmund Campion, at UC Berkeley Yunxiang Gao INDIVIDUAL George Lewis, LEE Geon-yong, Chinary Creative Traditional Orchestra at Sanguk Kim PERFORMERS Ung, and New York Philharmonic’s Very National Gugak Center, Korea Sarang Kim Pablo Rubio-Vargas Kyle Bruckmann, oboe Young Composer’s program: Madeline Saturday, October 28 Schmidt and LEE Sangjin SONG Jung June Han, harp Concert - 3:00 PM Jon Yu HEO Jung-Seung, pansori All Concerts in the Music Center Recital ALL-PREMIERE Orchestra Music Samuel Fibich Yulsman (Pansori Concerto) Hall, UC Santa Cruz Zellerbach Hall, UC Berkeley JI Aeri, gayageum VERY YOUNG Darren Lin, percussion

All Concerts are Free of Admission Concert – 8:00 PM COMPOSERS Soo-Yeon Lyuh, haegeum Traditional Court Music, Folk Music Polly Malan, viola & Dance LEE Sangjin Stacey Pelinka, flute Zellerbach Hall, UC Berkeley Madeline Schmidt John Sackett, clarinet Susan Ung, viola (Viola Pre-performance Talk - 1:00 PM Concerto) Alumni House, UC Berkeley MUSICOLOGIST Gilnori Parade - 7:00 PM Zellerbach Hall Plaza, UC Berkeley Leta Miller Presented by National Gugak Center of Korea Friday, December 1 – 8:00 PM Concert: ALL PREMIERES Orchestra Music Yeakdang Hall, National Gugak Center, Seoul, Korea

43 PAGE TITLE

pacificrim.ucsc.edu

44