Onsdag 16. januar 2019 kl. 19.30 Wednesday 16th of January 2019 at 7.30 p.m.

Gæstespil/On tour 2019 -Denmark Cultural Year Opening Concert KOREAN SYMPHONY ORCHESTRA

KOREAN SYMPHONY ORCHESTRA Chi-Yong Chung, dirigent/conductor Yubeen Kim, fløjtenist/flutist Sunyoung Seo, sopran/soprano Korean Symphony Orchestra DR Koncerthuset 2018/19 2 Program

Onsdag 16. januar kl. 19.30 JOHANN STRAUSS II (1825-1899) Wednesday 16th of January Ouverture til operetten ’Flagermusen’/Overture at 7.30 p.m. from the Operetta ’’

DR Koncerthuset CARL NIELSEN (1865-1931) Koncertsalen/The Concert Hall Fløjtekoncert FS 119/Flute Concerto FS 119

Chi-Yong Chung I Allegro moderato dirigent/conductor II Allegretto Solist/soloist: Yubeen Kim, fløjtenist/flutist Yubeen Kim fløjtenist/flutist PAUSE/INTERMISSION (30’) ca. 20.00/8 p.m. Sunyoung Seo sopran/soprano DONG SUN CHAE (1901-1953) Bird, Bird (Seya, Seya) Solist/soloist: Sunyoung Seo, sopran/soprano

DONG JIN KIM (1913-2009) 2019 Korea-Denmark New (Sin Arirang) Cultural Year Opening Concert Solist/soloist: Sunyoung Seo, sopran/soprano KOREAN SYMPHONY ORCHESTRA PETER TJAJKOVSKIJ (1840-1893) Russisk dans (trepak) fra ’Nøddeknækkersuite’ nr. 1, opus 71a/Russian Dance (Trepak) from the ’Nutcracker Suite’ No. 1, Op. 71a

GIUSEPPE VERDI (1813-1901) Pace, pace mio dio! fra operaen ‘Skæbnens magt’/ Pace, pace mio dio! from the opera ‘La forza del destino’ Solist/soloist: Sunyoung Seo, sopran/soprano

ANTONÍN DVORÁK (1841-1904) Rusalkas sang til månen/Song To The Moon from the opera ‘Rusalka’ Solist/soloist: Sunyoung Seo, sopran/soprano

JUNE HEE LIM (F. 1959/BORN 1959) Ouverture fra det symfoniske digt ’Han-River’, opus 71 Overture from the Symphonic Poem ’Han-River’, Op.71

Koncertens varighed: 1 time 50 min. inkl. pause Duration: 110 minutes including intermission.

Chef for DR Koncerthuset, Kor & Orkestre: Kim Bohr Redaktion & korrektur: Helle Kristensen Repertoirechef: Tatjana Kandel Design: E-Types & DR Design Producent: Søren Bondo Østergaard Forsidefoto: Kyutai Shim Produktionsleder: Jakob Helmer Mørck Tryk: Trykportalen ApS Korean Symphony Orchestra DR Koncerthuset 2018/19 3 Om musikken

Johann Strauss II Ouverture til operetten ‘Flagermusen’

Den originale kilde til Flagermusen er det tyske skuespil Das Gefängnis (Fængslet) af Julius Benedix. Værket var ligeledes inspireret af Le réveillion (Midnatsnadver) som blev opført i Boudeville, et skuespil af Henri Meilhac og Ludovic Halévy. Karl Haffner fra Wien, kombinerede de to skuespil og opførte værket i Wien. Johann Strauss II besluttede sig for at komponere en operette baseret på dette skuespil, men kæmpede med at tilpasse den franske kultur i Le réveillion til traditionerne i Wien. Derfor valgte han at ændre Le réveillion til et wiener-bal. I ouverturen indgår arier fra selve operetten.

Carl Nielsen Fløjtekoncert FS 119

Carl Nielsens Fløjtekoncert FS 119 er en af de mest spillede fløjtekoncerter fra den moderne æra, og det er et yderst vanskeligt stykke for musikerne. Nielsen bekymrede sig aldrig om at skrive store koncerter, for han reserverede de storladne stykker til sine symfonier. Hans violinkoncert er generelt skrevet i en mere traditionel og harmonisk stil, mens hans fløjtekoncert mere reflekterer en 1920’er-stil. Denne koncert formidler fløjtenisten Holger Gilbert-Jespersens forfinede og detaljerede spillestil. Trombonen har en interessant rolle i koncerten og virker som en stærk kontrast til fløjtens fine spil. Stykket havde premiere 21. oktober 1926 i Paris, men Nielsen færdiggjorde kompositionen i 1927. I 1921 var Nielsen bjergtaget af den københavnske blæserkvintet og musikernes individuelle øvning til stykker af Mozart. I samme år komponerede han blæserkvintetten, som indeholdt den unikke lyd af alle fem træblæsere, og samtidig lovede han en koncert til hver af musikerne. Det første stykke, der opfyldte dette løfte, var fløjtekoncerten til fløjtenisten Holger Gilbert-Jespersens. Denne koncert indeholder to satser, hvilket er unikt for en koncert.

FØRSTE SATS

I denne sats kræver Nielsen at musikerne skaber en raffineret dissonans og tilføjer, at “mu- sikken bør improviseres så meget som muligt, hvor solisten spiller som søger de efter noget”. Denne sats består mest af fløjtesoloer, interaktion mellem fløjten og resten af orkesteret samt interaktion mellem basun og klarinet. Generelt indeholder satsen interaktioner mellem fløjtenisten og kammermusikken, og mellem forskellige instrumenter. Der er et uventet trompetstykke efter solopassagen efterfulgt af fløjtens cantabile tema. Korean Symphony Orchestra DR Koncerthuset 2018/19 4 Om musikken

ANDEN SATS

Anden sats opløser den harmoniske dissonans, som afslutter første sats. Den begynder i A-dur og pulserer mellem et rondo-agtigt allegretto-afsnit i to fjerdedele og adagio-afsnittet i tre fjerdedele. Dette efterfølges af et march-agtigt afsnit i seks ottendedele. Satsen afslut- tes med et levende harmonisk afsnit, der begynder med en trombone.

Dong Sun Chae Bird, Bird (Seya, Seya)

Fugl, fugl er et koreansk børnerim, der ofte synges af børn. Det er en traditionel koreansk folkesang, som omhandler folkets sorg og sorgen ved Bong-Jun Jeons nederlag, lederen af Donghak bonderevolutionen, også kendt som Mung-bønnekrigeren. Det synges over hele landet stort set uden tekstvariationer. Ingen ved, hvordan sangen oprindeligt opstod, selv om der findes enkelte fortællinger.

Den bredest accepterede fortælling er, at folk mener, solsorten i sangen repræsenterer japanske soldater i blå uniformer under Donghak-bonderevolutionen i 1894. Mung- bønnemarken, der nævnes i sangen, repræsenterer Bong-Jun Jeon, eftersom han blev omtalt som Mung-bønnekrigeren, og de Cheongpo-handlende symboliserer folket.

Dong Jin Kim New Arirang (Sin Arirang)

Mange versioner af denne sang begynder med at beskrive de trængsler, sangens hovedperson møder på sin vej over et bjergpas. Arirang er et navn for dette pas; derfor titlen på sangen. Der findes hundredvis af varianter af sangen, og de kan grupperes i klasser baseret på teksten, hvornår omkvædet synges, omkvædets type, den generelle melodi etc. Titlerne på de forskellige versioner foranstilles normalt enten af det sted, de kommer fra, eller det, der ellers adskiller dem.

Den originale udgave af Arirang er Jeongseon Arirang, som blev sunget i Jeongseon- regionen i mere end 600 år. Men den mest berømte version af Arirang er den, der stammer fra Seoul. Det er den såkaldte Bonjo Arirang, selv om den faktisk ikke er ‘Bonjo’ (standard). Den kaldes typisk simpelthen Arirang og er relativt ny. Den blev først gjort populær, da den blev brugt som kendingsmelodi i første spillefilm Arirang fra 1926. Denne version af sangen kaldes nogle gange for Bonjo Arirang, Sin (ny) Arirang eller Gyeonggi Arirang, fordi dens herkomst reelt er fra Seoul, som tidligere var del af Gyeonggi-provinsen. Korean Symphony Orchestra DR Koncerthuset 2018/19 5 Om musikken

Peter Tjajkovskij Russisk dans (Trepak) fra Nøddeknækkersuite nr. 1, opus 71a

Tjajkovskij udvalgte otte numre fra balletten før premieren i december 1892, der kom til at udgøre Nøddeknækkersuiten, opus 71a, og som var beregnet til koncertopførelse. Suiten blev første gang opført den 19. marts foran en forsamling fra St. Petersborg-grenen af Den Russiske Musikforening med komponisten selv som dirigent. Handlingen i Nøddeknækkersuiten opus 71 er baseret på E.T.A. Hoffmans eventyr Nøddeknækkeren og Musekongen.

Balletten handler om en lille pige, der får en nøddeknækker i julegave. Den er formet som en soldat. Hun falder i søvn og drømmer, at alle julegaverne bliver levende og slås mod musekongen og hans hjælpere. Hendes nøddeknækker forvandles til en prins, som tager hende med til et fortryllet kongerige, hvor hans undersåtter får mulighed for at underholde hende med danse fra mange eksotiske steder.

Nøddeknækkersuiten Op. 71a består af de mest farvestrålende og kendte temaer fra den elskede ballet, inklusiv en miniature-ouverture i præludiet (i balletten en ouverture, men “miniature” er tilføjet til suiten), seks karakteristiske danse (Marts, Sukkerblomme- feen, Russisk Dans (Trepak), Arabisk Dans, Kinesisk dans, Legetøjsfløjternes Dans), og Blomsternes Vals. I dag hører vi een af sangene, Trepak, som er en russisk bondefolkedans karakteriseret af et intenst og hurtigt tempo.

Giuseppe Verdi Pace, pace mio dio! fra operaen ‘Skæbnens magt’

De fleste operaer af Giuseppe Verdi indeholder karakterer, som hvirvles rundt af skæbnens kastevinde. Skæbnens magt er den mest tragiske historie af dem alle, hvor de tre unge hovedpersoner ødelægges af deres skæbne. Operaen, som baserer sig på det spanske drama, Don Álvaro o la fuerza del sino, skrevet af Ángel de Saavedra, havde premiere i 1862 ved Mariinskij teatret efter efterspørgsel fra det russiske kejserrige. På grund af den æra, operaen blev komponeret i, grupperes den med Simon Boccanegra, Maskeballet og Don Carlos. Sammenlignet med Verdis populæreste operaer, Rigoletto eller La Traviata, har strygersektionen langt mere dybde og er mere udviklet i denne opera. Korean Symphony Orchestra DR Koncerthuset 2018/19 6 Om musikken

Antonín Dvořák Rusalkas sang til månen

Den tjekkiske opera Rusalka af Antonín Dvořák består af tre akter og betragtes som den næstmest populære opera i Tjekkiet næst efter Den Solgte Brud af Bedřich Smetana Dvořák skrev sangene mellem april og november i år 1900, hvilket betragtes som hurtigt indenfor komposition. Han modtog ros ved den første premiere i 1901. Operaen handler om en fe, som forelsker sig i en prins. Værkets fine melodi, de dramatiske effekter og den storladne komposition fanger i sandhed Dvořáks musikalske talent, og man forstår, hvorfor han blev omtalt som et geni indenfor melodisk komposition.

Denne sang er en arie fra første akt, som synges af hovedpersonen Rusalka. Det er et mesterværk, der synges vidt omkring, ikke bare indenfor operaens verden men generelt i musikkens verden. Rusalka, som er datter af feen for vand, ønsker sig brændende at blive til et menneske efter at have forelsket sig i en prins, som ofte besøger den sø, hun bor i. Arien er en sang, hvori Rusalka tænker på prinsen, mens hun synger til månen og beder den videregive hendes kærlighedsbesked til prinsen. June Hee Lim Ouverture fra det symfoniske digt ‘Han-River’, opus 71

Premiere: 1. juli 2007, Prime Philharmonic Orchestra, Seoul Arts Center, koncertsalen

Digt: Han-floden Oh! Frihedens blå bølger Oh! Livets blå bølger Vore nationers ånder flyder til floden Bønner for verdensfreden strømmer til floden

Det symfoniske digt Han-floden blev komponeret baseret på tanker om Koreas harmoni og udvikling i det 21. århundrede. De kanaliseres gennem den smukke musik og Han- flodens dynamik, som flyder gennem nationens historie, som indeholder lidelse inden for både frihed og fred.

Den kontinuerlige spredning af akkorderne, som optræder i det poetiske billede af Han- floden, skal forstås som et billede på nationens ånd og evigt flydende kilde, og formanter, der passer til de stigende og faldende melodistykker, repræsenterer vores forpligtelse overfor friheden og livet, når vi udsættes for uheld og modgang. Specielt i den sidste del af værket, hvor melodien fra vores nationale sang Arirang bruges, kulminerer nationens sorger og glæder i et sublimeret håb. Siden premieren i 2007 er stykket opført i Berlin, USA, Bulgarien, Slovenien, Tyrkiet, Rusland og New Zealand og er blevet rost for dets dynamiske og raffinerede skønhed indenfor koreansk musik. Korean Symphony Orchestra DR Koncerthuset 2018/19 7 Dirigent

Dirigent Chi-Yong Chung

I 2018 blev Chi-Yong indsat som den 6. musikdirektør og chefdirigent for Korean Symphonic Orchestra. Som en af sin generations mest efterspurgte dirigenter i Korea nyder Chi-Yong Chung stor respekt for sine levende fortolkninger, sin dybe musikalske forståelse, sine lederegenskaber for ensemblet og for sin virtuose teknik med dirigentstokken.

Chung begyndte sine klaverstudier som femårig og kom senere på Seoul National University School of Music med komponering som hovedfag. Herefter blev han uddannet som dirigent hos Michael Gielen ved Salzburg Mozarteum i Østrig. Chung var Fotograf: Youngho Kang assisterende dirigent ved Salzburg International Summer Festival og blev tildelt en pris af det østrigske kulturministerium, da han bestod sine studier.

Efter at have optrådt som gæstedirigent hos Leipzigs og Prags radiosymfoniorkestre, Münchens symfoniorkester, Michigan State Symphony og Russian Philharmonic, fik han sin koreanske debut i 1992 med Seoul Philharmonic. Chung har dirigeret KBS Symphony, Bucheon Philharmonic, Daegu Philharmonic, Daejon Philharmonic, Changwong Philharmonic, og Incheon Philharmonic, hvor han var musikdirektør.

Han arbejder for School of Music ved Korean National University of the Arts, hvor han leder uddannelsen af Koreas kommende generation af musikere. Blandt sine mange udmærkelser har Chung modtaget Soo-Keun Kim Culture Award, Young Artist Prize fra det koreanske kulturministerium, Music Association of Korea Award, og Korean Music Journalists Association Award. Korean Symphony Orchestra DR Koncerthuset 2018/19 8 Solister

Fløjtenist Yubeen Kim

Yubeen Kim, en i stigende grad velanset fløjtenist, blev anerkendt af den musikalske verden, da han vandt førstepris og fik titlen som laureat ved den 70. Spring International Flute Competition Prag i maj 2015. I 2014 vandt han andenpræmien (førstepræmien ikke uddelt) ved 69. Concours de Genève, som blev genoptaget indenfor fløjtesektionen efter 13 år, og som indeholdt specielle priser som Audience Prize, Young Audience Prize og ’Souffle’ Special Prize.

Han har eksamen fra Yewon School i Seoul og gik som 16-årig på CNSM de Lyon (Conservatoire National Supérieur Musique Fotograf: Taeuk Kang et Danse de Lyon) og fortsatte sin mastergrad på CNSM de Paris (Conservatoire National Supérieur Musique et Danse de Paris), hvor han enstemmigt blev optaget.

Yubeen Kim har optrådt med Seoul Philharmonic Orchestra, Bucheon Philharmonic Orchestra, Daejeon Philharmonic Orchestra, Chungnam Philharmonic Orchestra, og Orchestra of the CNSMD de Lyon. Han har deltaget i mange koncerter og festivaler i Europa, såsom Festival du Jura 2015, Young Prague Festival 2015, Laureates Festival 2015, Concours de Genève, Prague Spring Festival 2016, Euro Art Prague 2016, Korean Orchestra Festival 2016, Festival des Haudères 2016, og Concerts d´été à Saint-Germain 2016.

Fra december 2016 er han solofløjtenist hos Konzerthausorchester Berlin. Korean Symphony Orchestra DR Koncerthuset 2018/19 9 Solister

Sopran Sunyoung Seo

Sopranen Sunyoung Seo blev født i Busan i Sydkorea og studerede sang ved Korea National University of Arts i Seoul, hvorfra hun fik sin bachelorgrad hos Hans Choi. Et stipendium fra DAAD (Deutscher Akademischer Austausch Dienst) muliggjorde, at hun kunne tage til Europa og studere ved Robert Schumann Musikhochschule i Düsseldorf, hvorfra hun fik sin Konzertexamen under vejledning af Professor Michaela Krämer. På skolen opførte hun roller såsom komtesse Almaviva fra Mozarts Figaros Bryllup, Mimi fra Puccinis La Boheme og titelrollen i Puccinis Suor Angelica. Med støtte fra Westdeutscher Rundfunk (WDR) har hun optaget en CD med romancer og arier. Fotograf: Jinho Park

Fra 2011 til 2015 var hun medlem i ensemblet ved Theater Basel, hvor hendes roller inkluderede titelrollen i Rusalka, Carmen, Maskeballet, Otello, Idomeneo, Lohengrin og Eugene Onegin.

Seos nyligste præstationer inkluderer en førstepræmie ved International Tchaikovsky Competition, førsteplads ved Maria Callas Grand Prix Competition, førsteplads ved Francisco Vinãs International Singing Competition og andenpræmie ved International ARD Music Competition i 2009. I 2011 blev hun valgt som bedste sopran i den tyske delstat Nordrhein-Westfalen.

Seo arbejder nu som freelance sopran og har sunget Katja Kabanova ved Hamburgischer Staatsoper og titelrollen i Rusalka i Seoul. I 2016 sang hun som Elsa i Lohengrin opført i Seoul, og i 2017 fik hun sin debut i England som Liu i Turandot for Opera North. Korean Symphony Orchestra DR Koncerthuset 2018/19 10 Orkester

Korean Symphony Orchestra

Siden det blev etableret i 1985, har det Koreanske Symfoniorkester (KSO) arbejdet for at hæve niveauet for Koreas symfoniske musik gennem de sidste 30 år, både indenlands og udenlands gennem mere end 90 årlige optrædener.

Efter indgåelsen af en eksklusiv-kontrakt med National Theater of Korea i 1987 har orkesteret regelmæssigt samarbejdet med Korea National Opera, the Korean National Ballet og The National Chorus of Korea som del af dets repertoire.

Siden dets udnævnelse i 2001 som fast orkester for Seoul Arts Center (SAC), har det etableret sig som Koreas førende nationale teaterorkester. KSO spiller stadig både almindelige og specielle koncerter på Seoul Arts Center’s hovedscener i operahuset og koncertsalen. -Efter KSOs formelle udnævnelse som en non- profit stiftelse af det Koreanske Ministerium for Kultur, Sport og Turisme (MCST) i 2001, er orkesteret siden blevet en professionel kunstorganisation tilknyttet MCST, som dermed tillader det at modtage budgettilskud til dets drift.

Orkesteret, som i øjeblikket tæller 100 musikere og medarbejdere, heriblandt den fast tilknyttede komponist Paul Yeon Lee, arbejder fortsat for forfinelsen af Koreas højtydende artistiske kultur.

Fotograf: : Kyutai Shim Korean Symphony Orchestra DR Koncerthuset 2018/19 11 About the music

Johann Strauss II Overture from the Operetta ‘Die Fledermaus’

The original source of Die Fledermaus is Das Gefängnis, a farce by Julius Benedix. The work was also inspired by Le réveillion performed in Boudeville, a play written by French scriptwriters Henri Meilhac and Ludovic Halévy. Karl Haffner of Vienna combined the two works together and staged it in Vienna. Johann Strauss II decided to create an opera based on the play, but struggled in adjusting the French culture in Le réveillion to the Viennese culture while writing the script. This is why he changed Le réveillion to a Viennese ball. The prelude features main songs played in the operetta. Carl Nielsen Flute Concerto FS 119

Carl Nielsen’s Flute Concerto FS.119 is one of the most widely played flute concertos written in the modern era and is a highly challenging piece for the musicians. Nielsen was never concerned with writing grand concertos, for he saved grand-scale pieces for his symphonies. His Violin Concerto is generally written in more of a traditional style and in harmonics, but his Flute Concerto reflects more of a 1920s style. This concerto conveys the flutist Holger Gilbert-Jespersen’s delicate and detailed style of playing. In the concerto, the trombone plays an interesting part, which gives a stark contrast with the flute’s delicate playing. The piece first premiered on October 21st, 1926, in Paris, but Nielsen finished the composition in 1927. In 1921, Nielsen was mesmerized by the Copenhagen Wind Quintet and each of the players as they were rehearsing Mozart pieces. That year, he composed the Wind Quintet that featured the unique sounds of all five woodwinds, then promised each player a concerto. The first piece composed in fulfilment of this promise was the Flute Concerto for Holger Gilbert-Jespersen. This concerto features two movements, which is unique for a concerto.

FIRST MOVEMENT

In this movement, Nielsen demands the musicians to create refined dissonance, adding that “the music should be improvised as much as possible, with the soloist playing as if they are in search of something.” The movement is mainly composed of flute solos, interaction between the flute and the rest of the orchestra, as well as interaction between bassoon and clarinet. Overall, the movement features interactions between the flutist and chamber music, and between different instruments. There is an unexpected trumpet disruption after the solo passage, followed by the flute’s cantabile theme. Korean Symphony Orchestra DR Koncerthuset 2018/19 12 About the music

SECOND MOVEMENT

The Second Movement resolves the harmonic dissonance that ends the First Movement. It begins in A major, fluctuating between a Rondo-style Allegretto section in two-four time and the Adagio section in three-four time. This is followed by a march-style section in six-eighth. The movement closes with a vibrant harmonic section that begins with a trombone.

Dong Sun Chae Bird, Bird (Seya, Seya)

Bird, Bird is a Korean nursery rhyme widely sung by children. It is a Korean traditional folksong that conveys the sorrow in the failure of Jeon Bongjun, the leader of the Donghak Peasant Revolution, also known as the Mung Bean Warrior and the sorrow of the people. It is sung across the country and the lyrics have minimal variations. Nobody knows how the song actually came about, though there are some stories.

The most widely accepted story is people think that the blue bird in the song represents the Japanese soldiers in blue uniforms during the 1894 Donghak Peasant Revolution. The mung bean field mentioned in the song represent Jeon Bongjun, based on the fact that he was refer- red to as the Mung Bean Warrior, and that the cheongpo merchants symbolize the people.

Dong Jin Kim New Arirang (Sin Arirang)

Many versions of the song start by describing struggles the subject of the song encounters while crossing a mountain pass. Arirang is one name for the pass and hence the title of the song.

Literally hundreds of variations of the song exist, and they can be grouped into classes based on the lyrics, when the refrain is sung, the nature of the refrain, the overall melody, and so on. Titles of different versions of the song are usually prefixed by their place of origin or some other kind of signifier.

The original form of Arirang is Jeongseon Arirang, which has been sung in for more than 600 years. However, the most famous version of Arirang is that of Seoul. It is the so-called Bonjo Arirang, although it isn’t actually bonjo (Bonjo: ”Standard”). It is usually simply called Arirang, and is of relatively recent origin. It was first made popular by its use as the theme song of the 1926 movie Arirang, Korea’s first feature film. This version of the song is sometimes called Bonjo Arirang, Sin (Shin; ”New”) Arirang, or Gyeonggi Arirang, since its provenance is, properly speaking, Seoul, which was formerly part of Gyeonggi Province. Korean Symphony Orchestra DR Koncerthuset 2018/19 13 About the music

Pyotr Tchaikovsky Russian Dance (Trepak) from the Nutcracker Suite No. 1, Op. 71a

Tchaikovsky made a selection of eight of the numbers from the ballet before the ballet’s December 1892 première, forming The Nutcracker Suite, Op. 71a, intended for concert performance. The suite was first performed, under the composer’s direction, on 19 March 1892 at an assembly of the St. Petersburg branch of the Musical Society. The original source of The Nutcracker Op.71 is E.T.A. Hoffman’s fairy tale, The Nutcracker and the Mouse King.

The ballet tells the story of a little girl who receives a nutcracker for Christmas. It is in the form of a soldier. She falls asleep and dreams that all the Christmas presents come alive and fight against the Mouse King and his minions. Her nutcracker turns into a prince who takes her off to his enchanted kingdom, providing opportunities for his subjects to entertain her with dances of many exotic places.

The Nutcracker Suite Op.71a consists of the most colorful and familiar themes from the beloved ballet, including a miniature overture in the prelude (an overture in the ballet, but ‘miniature’ is added in the suite), 6 characteristic dances (March, Dance of the Sugar- plum Fairy, Russian Dance (Trepak), Arabian Dance, Chinese Dance, Dance of the Toy Flutes), and the Waltz of the Flowers. Today we hear the one of dances, Trepak which is a folk dance of Russian farmers and is characterized by an intense and fast tempo.

Giuseppe Verdi Pace, pace mio dio! from the opera ‘La forza del destino’

Most operas written by Giuseppe Verdi feature characters that are thrown in the storms of destiny. In particular, La forza del destino is the most tragic story of all, where all three young main characters are destroyed by their destiny. This opera, based on the Spanish drama called Don Álvaro o la fuerza del sino, written by Ángel de Saavedra, first premiered in 1862 at the Mariinsky Theatre under the request of the Russian imperial court. Based on the era that it was composed in, the opera is categorized with Simon Boccanegra, Un ballo in maschera and Don Carlos. Compared to Verdi’s most popular operas, Rigoletto or La Traviata, the string section has much more depth and is much more developed in this opera. Korean Symphony Orchestra DR Koncerthuset 2018/19 14 About the music

Antonín Dvořák Song to the moon from the opera ‘Rusalka’

The Czech opera, Rusalka by Antonín Dvořák, is composed of three acts and is regarded as the second-most popular opera in Czechoslovakia after The Bartered Bride by Bedřich Smetana.

Dvořák wrote the songs between April and November of 1900, which is a fast pace for composing. He received praises for his first premiere in 1901. The opera is about a fairy who fell in love with a prince. The delicate melody and harmony, dramatic effects and great com- position of this work truly captures Dvořák’s musical talent and will make you understand why he was referred to as the genius of melodic composition.

This song is an aria from the first act, sung by the main character, Rusalka. It is a masterpiece that is sung widely, not just in the world of opera but in the world of music. Rusalka, the daughter of the fairy of water, begins to desperately wish to become human after falling in love with the prince that often visits the lake that she lives in. This aria is a song in which Rusalka thinks of the prince as she sings to the moon, asking the moon to deliver her message of love to the prince.

June Hee Lim Overture from the Symphonic Poem ‘Han-River’. Op.71

*Premiere: 01 Jul. 2007, Prime Philharmonic Orchestra, Seoul Arts Center, Concert Hall

Oh! Blue Waves of Freedom Oh! Blue Waves of Life Our nation’s spirit flows to the river Prayer for the peace to the world flows to the river

Symphonic Poem Han-River composed with the idea of Korea’s harmony and development in the 21st century world channeled through the music of beauty and dynamism of the Han-River which flows through the nation’s history of suffering instead of freedom and peace. Continuous dispersion of the chords appeared in the poetic image of Han-River symbolizes the nation’s spirit and ever-flowing stream and formants thematic of the ascending and descending melodic tunes represent our commitment to the freedom and life in the face of hardship and adversity.

Especially in the last part of this work, the use of our nation’s song Arirang melody culminates the sorrows and the joys of the nation into the sublimed hope. Since its premiere in 2007, it has been performed in Berlin, the United States, Bulgaria, Slovenia, Turkey, Russia and New Zealand and was acclaimed for its dynamic and refined beauty of Korean music. Korean Symphony Orchestra DR Koncerthuset 2018/19 15 Conductor

Conductor Chi-Yong Chung

In 2018, Chi-Yong Chung was inaugurated as the 6th Music Director and Chief Conductor of Korean Symphony Orchestra.

One of the most sought-after conductors of his generation in Korea, Chi-Yong Chung is highly regarded for his vivid interpretations, deep musical insights, strong ensemble leadership, and virtuoso baton technique.

Chung began his piano studies at age five and later entered the Seoul National University School of Music as a composition major. He then graduated from the conducting class of Michael Photo: Youngho Kang Gielen at the Salzburg Mozarteum in Austria. Chung served as Assistant Conductor of the Salzburg International Summer Festival and was awarded the Austrian Culture Ministry Award upon graduation.

Following appearance as guest conductor of the Radio Symphony of Leipzig, Prague Radio Symphony, Munich Symphony, Michigan State Symphony, and Russian Philharmonic, he made his debut in Korea with the Seoul Philharmonic in 1992. Chung has conducted KBS Symphony, Bucheon Philharmonic, Daegu Philharmonic, Daejon Philharmonic, Changwong Philharmonic, Incheon Philharmonic where he served as music director.

He works for the School of Music at the Korean National University of the Arts, where he is leading the education of the next generation of Korean musicians. Among his many distinctions, Chung received the Soo-Keun Kim Culture Award, Young Artist Prize of Korean Culture Ministry, Music Association of Korea Award, and the Korean Music Journalists Association Award. Korean Symphony Orchestra DR Koncerthuset 2018/19 16 Soloists

Flutist Yubeen Kim

Flutist Yubeen Kim, rising as a prestige flutist, being acknowledged by the world-wide musical world in honor of winning the first prize and the Title of Laureate at the 70th Prague Spring International Flute Competition in May 2015. In 2014, he won the Second Prize (First Prize not attributed) at the 69th Concours de Genève, which was held again in flute section after 13 years, including awarding special prizes such as Audience Prize, Young Audience Prize, and “Souffle” Special Prize.

He has graduated from Seoul Yewon School and attended the CNSM de Lyon (Conservatoire National Supérieur Musique et Photo: Taeuk Kang Danse de Lyon) at the age of 16 and now he continues his Master Degree in CNSM de Paris (Conservatoire National Supérieur Musique de Paris) where he was accepted unanimously.

As his performance activities, he has performed with Seoul Philharmonic Orchestra, Bucheon Philharmonic Orchestra, Daejeon Philharmonic Orchestra, Chungnam Philharmonic Orchestra, Orchestra of the CNSMD de Lyon. He is invited to many concerts and festivals in Europe such as Festival du Jura 2015, Young Prague Festival 2015, Laureates Festival 2015 of the Concours de Genève, Prague Spring Festival 2016, Euro Art Prague 2016, Korean Orchestra Festival 2016, Festival des Haudères 2016, Concerts d’étéà Saint-Germain 2016.

From December 2016, he is principal flutist at the Konzerthaus orchester Berlin. Korean Symphony Orchestra DR Koncerthuset 2018/19 17 Soloists

Soprano Sunyoung Seo

Soprano Sunyoung Seo was born in Busan (), and studied singing at the Korea National University of Arts in Seoul, where she received her Bachelor’s degree with Hans Choi. A DAAD (Deutscher Akademischer Austausch Dienst) scholarship enabled her to come to Europe and to study at the Robert Schumann Musikhochschule in Düsseldorf, where she obtained her Konzertexamen under the tutelage of Professor Michaela Krämer.

At the Hochschule, she performed such roles as the Contessa Almaviva in Le Nozze di Figaro, Mimi in La Boheme, and Photo: Jinho Park the title role in Puccini’s Suor Angelica. With support from Westdeutscher Rundfunk (WDR) she recorded a CD album of romances and arias.

From 2011 to 2015 she was a member of the ensemble at Theater Basel where her roles included the title role in Rusalka, Carmen, Un ballo in Maschera, Otello, Idomeneo, Lohengrin, and Eugene Onegin.

Seo is now a freelance soprano and has sung Katja Kabanova at the Hamburgischer Staatsoper and the title role in Rusalka in Seoul. 2016 she sang Elsa in Lohengrin in Seoul and she made her United Kingdom debut as Liu in Turandot for Opera North in 2017.

Seo’s most recent achievements include the first prize at the International Tchaikovsky Competition, first at the Maria Callas Grand Prix Competition, first at the Francisco Vinãs International Singing Competition, and second prize at the International ARD Music Competition. She was also selected as 2011’s best Soprano in Germany’s Nordrhein-Westfalen. Korean Symphony Orchestra DR Koncerthuset 2018/19 18 The Orchestra

Korean Symphony Orchestra

Since its establishment in 1985, Korean Symphony Orchestra has been working to elevate the standing of Korean symphonic music for the past 30 years both domestically and abroad through more than 90 annual performances.

Since concluding an exclusive contract with the National Theater of Korea in 1987, the orchestra has held regular joint productions with the Korea National Opera, the Korean National Ballet, and the National Chorus of Korea as part of its repertoire. And from 2001, following its designation as the resident orchestra of Seoul Arts Center, it has established itself at SAC as Korea’s leading national theater orchestra. KSO continues to play regular concerts and special program concerts on the main stages of Seoul Arts Center’s opera house and concert hall.

Formally recognized as a non-profit foundation by the Korean Ministry of Culture, Sports and Tourism (MCST) in 2001, KSO has since been incorporated as a professional artistic organization and is now affiliated with the MCST, thus making it eligible to receive government budget support for its operations.

Currently numbering 100 orchestra and staff members, including a composer-in-residence Paul Yeon Lee, KSO continues to work together for the advancement of Korea’s artistic and performance culture.

Photo: : Kyutai Shim Korean Symphony Orchestra DR Koncerthuset 2018/19 19 Musikerliste/List of musicians

Korean Symphony Orchestra

(♦) Concertmaster (*) Principal (**) Associate Principal (G) Guest

VIOLIN 1 Jungbin KWON (G) Gun-cheul KIM Jeong Il LEE ♦ Somyoung KIM (G) Jang Hyun JOO Min Kyun KIM ♦ Ji Soo LEE * CELLO HORN/FRENCH HORN Yoo Min LEE ** Ji-won Jenny YOON * Seung Ho YUN * Eunjung LEE Seo Hyun HONG Jeongwan KIM ** Minjeong CHA Min Joo KOO Jee Hyun SHIN Na Jung KIM Hyejin PARK Kibum KIM Inhee PARK Hyemi HAN Soo Hyun SON Soo Hyun MOON TROMPET/TRUMPET Jin Won JO Jiyhe WON (G) Eungwoo LEE ** Jae Won MOON Sohee PARK (G) Mungyu CHOI Jeein KIM Sung Joong KIM Heerae KIM (G) KONTRABAS/ Hyeran LEE (G) DOUBLEBASS BASUN/TROMBONE Jaejoon LEE * Daehwan JUNG ** VIOLIN 2 Chiho SON ** Sunghyun PARK Jin Hee PARK * Inyoung JANG Sangwoo SON Na Eun PARK ** Ji Sun JEONG Young Suk KO Eun Jin SHIN Sukjin HONG Eunji SONG Sun Aeh CHUNG TUBA Eunmee KANG Yungeun PARK Jeongnyeon KIM FLØJTE/FLUTE Eun Jue CHOI Mi Sun LEE * TIMPANI Young Shin KIM Chi Hyae KIM Han Kyou KIM * Ryoung KIM Jeong Hyun KIM (G) Jin Yi CHO PERCUSSION Eunsook KIM OBO/OBOE Changsub LEE ** Yeonhee SHIM (G) In Young LEE ** Eun Jung KIM Dae Keon KIM Sung Ho CHO BRATSCH/VIOLA Si Hyun CHA (G) Minyoung JO (G) Soo Eun YEO * Mooyoul LEE ** KLARINET/CLARINET HARPE/HARP Sangmi YU Jung Hwan PARK * Heasoon YOUN * Jiseon YANG Jae Kyung CHANG ** Young Seok WON Sinae PARK Ri Kyung KIM Jinwon BYUN FAGOT/BASSOON Kangcheol SHIN (G) Kyusun PYO * DR’s koncertvirksomhed støttes af blandt andre:

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