Saturday, October 28, 201 7, 3pm Zellerbach Hall ) )) ))) )&))) & ) ) National Gugak Center of )Korea ) ) ) ) ) ) ) ) ) ) ) ) ) ) Creative Traditional Orchestra ) ) ) ) ) ) ) ) )) ) ) ) )) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) )) ) ) ) )) ) ) ) ) ) ) Hi Kyung Kim, artistic director, Pacific Rim Music Festival ) ) PARK Chi-wan, artistic director, ) ) ) ) )) )) ) ) ) ) National Gugak Center of Korea Creative Traditional Orchestra ) ) ) ) CHUNG Chi-yong, guest conductor ) ) ) ) ) ) ) ) ) ) ) ) Living Tradition ! ! & !!! !! ! ! ! ! " ! ! BAEK Dae-ung Namdo& Arirang !!! !! ! ! ! ! " ! ! !! ! !! ! & & & !! ! !!! - ! !!!!!!!!!!!! George Lewis Dreams& of& the &Traveller* !! ! !!! - ! !!!!!!!!!!!! ! ! & & & & ! !!!!! !! ! 5 ! ! !!!!!!!!!!!! ! ! Shih Hui Chen Ten& Thousand& Blooms, &Falling P& etals * ! ! ! ! !! !! ! 5 ! ! !!!!!!!!!!!! ! ! ! ! & & & & ! !!!!!!!!!!!!! !! 862+'/=! !!!!!!!!!!!!!! ! ! Chinary Ung Viola C& oncert&o, Sin&ging & Inside! Aura III* !!!!!!!!!!!!! !! 862+'/=! !!!!!!!!!!!!!! ! ! 5 ! ! ! ! 5 Su!san U!ng, vi! o!la ! ! INTERMI!!S!!S!!I!O!!!N !! !!!!!!! !!!!!!!! !! !@ ! !@ ! ! !! !! David Evan Jones &Dreams! of! F,alling!* !! &!!& !& && && ! & ! & !! && &&! ! & !!!!! !! !!! !!!!!! !! ! ! Edmund Campion Audible! Numbers, !  &   !  !* & !!!!!!!!!!!!!&! !!!!!!!!!!!!!!!!!!!!!! !!!!! !!!!!!!!!!!! !!!!!!!!!!!!! !!!!!! !!!!! ! ! LEE Geon-yong Green Frog!!,- 
 ! ! * &&>!! !!& !! !!! ! ! ! !0 ! ! 0 ! !!!!!!!!!!! !! !!!!!!!!!! ! ! ! HEO Jung-Seung, pansori 7 ! 7 !!! ! ! !! ! ! ! * World Premiere, commissioned !by the National Gugak Center and written for the Pacific Ri!m Music Festiv!al in 2017. !!!! ! !!!! ! ! ! ! ! ! ! This program is supported, in part, by the ! ! Ministry of Culture, Sports, and To!!urism of the !!Republic of Korea. 4! ! 4! ! ! ! ! ! ! ! !! ! ! !! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !!!D ! ! !!!D ! ! ! ! ! ! ! ! This performance is made possible, in part, by! the UC Berke!ley Center for Korean Studies. & & & & & & & & & & & & & & & & & & & Cal Performances’ 2017 –18 season is& sponsore&d b&y W& ells &Fargo. & & & & & & & & & & & & & & & & ! ! !! ! ! !! ! ! ! ! ! ! ! ! ! ! ! ! !! !! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 8b ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! PLAYBILL ! ! PROGRAM NOTES

Welcome to today’s per - As the artistic director of formances with the Crea - the Pacific Rim Music tive Traditional Orchestra Festival, I would like to of the National Gugak welcome you to today’s Center of Korea. As direc - concerts with the Creative tor general of the center, it Traditional Orch estra of brings me great pleasure the National Gugak Cen- to be here at Zellerbach ter of Korea. Hall, the world-renowned venue of UC Berke - The afternoon performance features an ley and Cal Per formances. impressive total of six world premieres, each The two performances today will present composed expressly for this collaboration be - different kinds of musical expression. The tween the Pacific Rim Music Festival and the afternoon performance showcases six world- National Gugak Center. This evening, we will premiere compo sitions influenced by Korean enjoy a program of authentic traditional music. traditions and heritage. The second performance Through these two concerts, the listener will celebrates traditional styles of Korean music. The experience the flow and the development from new works on the afternoon program were the original forms of traditional Korean music created over the past two years for the NGC— to newly created compositions written for the in collaboration with the Pacific Rim Music same group of performers. Festival at UC Santa Cruz—by gifted contem - The Pacific Rim Music Festival at the Uni - porary composers, specifically for this ensem - versity of California, Santa Cruz, began in 1996 ble of traditional instruments. Following today’s with the goal and vision of forming a bridge premieres, the same program will be presented between different cultures and traditions, and at the Pacific Rim Music Festival in Santa Cruz. to create a new musical tradition within today’s Tonight’s concert features traditional Korean global culture. The festival has pioneered music in its purest form, demonstrating its fas - the promotion of international collaborative cinating evolution over the nation’s long history. pro jects and the introduction of new composi - We have selected from various genres, includ - tions, and has presented 120 world premieres ing traditional large-ensemble works, instru - over the last 21 years. The current 2017 Pacific mental solos, songs, chamber music, and dance. Rim Music Festival is built around the theme of Music has the rare power to open hearts. From the Root to the Living Tradition . Standing here before an audience representing In 2014 the Pacific Rim Music Festival in - different languages and customs, I dream of a vited the National Gugak Center to take part in world where culture and art bring everyone to - this special collaboration between composers in gether into one welcoming community. the US and the Creative Traditional Orchestra, I would like to thank UC Berkeley and the to feature new works written for Korean tradi - staff of Cal Performances for inviting us; Pro - tional orchestra. fessor Hi Kyung Kim at UC Santa Cruz, with - The contemporary American composers out whom these concerts would not have whose music will be heard this afternoon come been possible; the composers who have worked from different cultural backgrounds, and origi - so hard to create the music; our conductor nally did not know much about traditional CHUNG Chi-yong; and of course the members Korean orchestral music. The process of cre - of the orchestra, who have traveled here from ation took more than two years: composers went the other side of the globe. Thank you, every - to Korea, studied at the National Gugak Center, one, for supporting these performances. And and continued to study independently in order please be sure to offer the artists your heartfelt to write their music. Also part of this afternoon’s applause. Thank you! program is music by a distinguished Korean —Director General KIM Hae-suk, composer who has a profound understanding National Gugak Center, Republic of Korea of traditional Korean music.

9 PROGRAM NOTES

I would like to extend special thanks to Cal in an effort to fuse modernity with history. The Performances for presenting these special con - CTO also works to document the development certs; to KIM Hae-suk, the director general of of such collaborations and search for undiscov - the National Gugak Center; to the members of ered ancient pieces. With its superb artistry and the orchestra for their heartfelt efforts; and to comprehensive outreach activities, the orches - the participating composers for accepting this tra is at the forefront of promoting Korean music challenge. Thanks also to Susan Solt, the dean to the world. of the Arts Division of UC Santa Cruz, for her support of this meaningful presentation. We hope you enjoy these special presenta - ABOUT THE PROGRAM tions that celebrate a vibrant and living art form. —Hi Kyung Kim BAEK Dae-ung (1943–2011) was a theorist and Founder/Artistic Director educator in the field of traditional Korean music. Pacific Rim Music Festival His compositions make frequent use of folk songs in an effort to encourage wider accessibil - The National Gugak Center (NGC) is the head - ity to this repertoire. He employed modes and quarters of traditional Korean performing arts. rhythms heard in a broad range of Korean The institution began as the Eumseongseo dur - music, and produced a large repertoire of works ing the Silla dynasty (ca. 7th century), then be - that combine Korean with other Asian and came the Daeakseo of the Goryeo dynasty (end Western instruments. of 10th century), and later the Jangagwon dur - ing the Joseon dynasty (1466). The current NGC Namdo Arirang (1994) was established in 1951, during the Korean War, (Arirang of the Southern Region, in an effort to preserve traditions threatened at for the National Gugak Center Orchestra) the time. Founded on the principle of “creating Arirang is the most renowned Korean folk song, the new based upon the old,” the NGC contin - designated part of the Intangible Cultural Heri - ues to cultivate Korean music as a contribution tage of Humanity by UNESCO in 2012. BAEK to humanity. The center’s four main performing Dae-ung collected folk songs across Korea, and groups are the Court Music Orchestra, Folk composed music based on them. He cherished Music Group, Dance Theater, and Contempo- the life force of songs from the field. This piece rary Gugak Orchestra. In addition to dedicating is influenced by both Jindo arirang from Jeolla itself to informed historical performances, com - province and Milyang arirang from Gyeongsang missions of new works, and extensive research, province. Although non-Koreans might find the NGC offers diverse educational programs the distinction between the two regions difficult that promote Korean arts at home and abroad. to discern, this composition aesthetically ex - presses that contrast. Central in the work are The National Gugak Center of Korea Cre a tive the instrumental solos presented over a six- Traditional Orchestra was established in 2004. beat rhythmic cycle. Although written for a Since its first perfor mance, the ensemble has traditional orchestra, the piece has also been gone on to make 90 regular and 150 special ap - arranged for Western instruments and per - pearances. The CTO keeps expanding its rich formed in Shang hai, China. repertoire through active concert seasons. The • • • orchestra’s 50 traditional music virtuosos take George E. Lewis is the Edwin H. Case Professor pride in their role in preserving and continuing of American Music at Columbia University. A ancient Korean musical styles. The members are Fellow of the American Academy of Arts and also dedicated to creating new traditional music Sciences and a Corresponding Fellow of the as an offering to future generations. British Academy, Lewis’ other honors include a The orchestra presents valuable collaborative MacArthur Fellowship (2002), a Guggenheim opportunities to Korean and foreign composers Fellowship (2015), a United States Artists Walk -

20 PLAYBILL PROGRAM NOTES er Fellowship (2011), an Alpert Award in the within the diatonic, exchanging structures and Arts (1999), and fellowships from the National recombining with other sets, and recurring in Endowment for the Arts. In 2015 Lewis received new forms to evoke reminiscences in listeners. the degree of Doctor of Music ( honoris causa ) The blend of Western and Korean elements in from the University of Edinburgh. this work comes from the identification of A member of the Association for the Ad - important techniques of sigimsae , which I have vance ment of Creative Musicians (AACM) been using in embryonic form in a number of since 1971, Lewis is best known for his work in works since 2013. (—GL) electronic and computer music, computer-based • • • multimedia installations, and notated and Shih-Hui Chen is originally from Taiwan and improvisative forms, which is documented has lived in the United States since 1982. Having on more than 150 recordings and has been received her doctorate from Boston University, pre sented by the BBC Scot tish Symphony she has continued to seek a deeper understand - Orch estra, Ensemble Dal Niente, London’s ing of her native culture and music, spending Phil har monia Orchestra, Radio-Sinfonie orches- two years in Taiwan studying indigenous and ter Stuttgart, London Sinfonietta, Wet Ink, Talea Nanguan music (2010 Fulbright Senior Scholar Ensemble, Ensemble Pample mousse, American and 2013 Taiwan Fellowship, affiliated with the Composers Orch es tra, Harvestworks, Interna- Institute of Ethnology, Academia Sinica). She tional Contempo rary Ensemble, Ensemble has played an important role in organizing op - Either/Or, 2010 Van couver Cultural Olympiad, portunities for musicians from Taiwan, China, IRCAM, and others. and South east Asia to present their work at fes - Lewis has served as Ernest Bloch Visiting tivals in the United States. Professor of Music at UC Berkeley; Paul Fromm In addition to winning a Koussevitzky Music Composer-in-Residence, American Academy Foundation Commission, a Guggen heim Fel - in Rome; and Resident Scholar, Cen ter for low ship, and an American Academy in Rome Disciplinary Innovation, University of Chicago. Prize, her compositions have been performed He received the 2012 SEAMUS Award from the widely throughout the United States and abroad. Society for Electro-Acoustic Music in the United Chen’s work has brought her into contact with States, and his acclaimed book, A Power Stronger groups like the Philadelphia Orchestra, Cleve - Than Itself: The AACM and American Experi - land Chamber Symphony, Cleveland Orchestra, mental Music (University of Chicago Press, Boston Modern Orch estra Project, and Utah 2008) received the American Book Award and Symphony. She serves on Asia Society Texas the American Musicological Society’s Music Center’s performing arts and culture commit - in American Culture Award. Lewis is the co- tee, and is the department chair of composition editor of the two-volume Oxford Handbook of and a professor at the Shepherd School of Music, Critical Improvisation Studies (2016), and his Rice University, where she also chairs the Syzygy opera Afterword (2015), commissioned by the New Music concert series. Recent compositions Gray Center for Arts and Inquiry at the Uni - include A Plea to Lady Chang’e for Chamber versity of Chicago, has been performed in the Orchestra and Nanguan pipa ; Fantasia on the United States, United Kingdom, and Czech Theme of Guang lingsan for Zheng and Chinese Republic (and here at Cal Performances as part Orchestra ; three new orchestral works; and of the 2016 Ojai at Berkeley Festival). Messages From a Paiwan Village , a 50-minute musical drama. Her music can be heard on Dreams of the Traveller Albany, New World, and Bridge Records. The compositional process for this work draws from the concept of hypertext, and from my Ten Thousand Blooms, Falling Petals work in interactive computer music, in which for Korean Traditional Orchestra my real-time systems create “behavior sets,” Although the title of this piece suggests imagery, complexes of elements that seek out dissonance it serves as a point of departure for a more ab -

2 PROGRAM NOTES

stract study in continuity. While all movements of phonemes, some Sanskrit, Pali, and Khmer have distinct characters, the materials are inter - words and phrases, as well as whistling and connected. In this three-movement work, I hope other vocal techniques. The sung line is some - to create a musical space that integrates Western times directly contrasted or combined with the compositional processes of layering and coun - viola material. Susan Ung has been collaborating terpoint with Asian materials and gestures. For with me for many years and is a master of this reason, while the first two movements are vocalizing while playing the viola. She has per - strictly notated, the third movement incorpo - formed as a soloist in many US and inter na - rates a semi-improvisational style to allow freer tional venues, and is well known for her work in and more idiomatic expression with traditional contemporary music. (—CU) instruments. (—SC) • • • • • • David Evan Jones is a composer and theorist Chinary Ung writing chamber music, chamber opera, com - Cambodian-American Chinary Ung was the puter music, and computer-assisted composi - first American composer to win the coveted tions. Some of his theoretical and com po si tional Grawemeyer Award (1989), for his piece Inner work explores structural relationships between Voices . He has also received awards and com - speech and music. His theoretical articles have missions from the Kennedy Center (Friedheim appeared in Perspectives of New Music, Com- Award), American Academy of Arts and Letters, puter Music Journal, and elsewhere. His compo - Asia Foundation, Asian Cultural Coun cil, Mar - sitions are published by American Com posers tha Baird Rockefeller Fund for Music, Inc., Ford Editions and Dorn Publications, and are avail - Foundation, Guggenheim Founda tion, Joyce able from Centaur Records, Wergo Records, Foundation, and National Endowment for the Contemporary Recording Studios, Capstone Arts. In 2014 he received the John D. Rocke feller Records, Musical Heritage Society, and Com- III Award from the Asian Cultural Coun cil. He posers Recordings Inc. Jones’ compositions have is currently Distinguished Professor of Music at been recognized with numerous grants and UC San Diego, and Presi dential Fellow: Senior awards and have been performed throughout Composer-in-Residence at Chap man Univer - the United States and Europe, as well as in sity. He was a former president of Khmer Studies Korea, Taiwan, Japan, and Israel. He has served Institute (1980 –85); the advisory board of as composer-in-residence at the Univer sity of the Cambodia-American Her i tage Museum & York, England, and taught for several years at Killing Fields Memorial, Chicago; and founder Dartmouth College, where he co-founded the of Nirmita Composers Institute. Dartmouth Electro-Acoustic Music Master’s Program. Jones is currently a professor of music Singing Inside Aura III at the University of Cali fornia, Santa Cruz. Viola Concerto for Amplified Singing Violist and Korean Traditional Orchestra Dreams of Falling This work has two previous versions, one with As I wrote this piece (and as I read the world a large chamber orchestra (Boston Modern news) I had dreams of falling—sometimes dark, Orchestra Project), and another for a chamber sometimes illuminating. In English we say we ensemble from New York City (Da Capo “fall” asleep or “fall” in love. But we also “fall” Chamber Players). All three versions have been from grace or onto hard times. For good or for composed for instrumentalists using their un - ill, “falling” means a loss of control. trained voices. Although I have been taking this There is a large-scale wavelike pattern to the approach for over two decades, only during the pitch registers of this piece. Some waves are past four years have I allowed the soloist’s line truncated, others complete. As I worked I found to remain similar in construction, while creat - myself exerting much more notational detail ing several realizations of the piece to explore on the gradual and staged ascents than on the distinct sound worlds. The text is a combination briefer and more relaxed descents. Ignorant of

22 PLAYBILL ) ) ))) & ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ! & !!! !! ! ! ! ! " ! ! !! ! PROGRAM NOTES & & & !! ! !!! - ! !!!!!!!!!!!! most of the subtleties of Korean culture, music, ! dia work was premiered at the Philharmonie de and instruments, I experienced the composition Pa&ris in Octob& er of 201&5 and to&ured th!e! U!!!n! !!ited ! 5 ! ! !!!!!!!!!!!! ! ! of Dreams of Falling as a fascinating and chal - ! States. A recent commission from pianist Mari - lenging journey through the gugak orchestra— lyn No& nken &was in& spir& ed by! Gèrard G!!r!i!s!!e!!y!!’s!! ! !! 862+'/=! !!!!!!!!!!!!!! ! ! through a varied terrain of uncertain orches tra - 5 Vorte!x Tem! porum! ! . As a 2016 Guggenheim Fel - tions, textures, and forms. ! low, Campion composed for the Korean Tra - Some of the most rewarding ways of !!!d!!!i!t!i!o!!n! !!al Conte !mpo rary !@ Orchestra, an ensemble ! “falling”—of losing control—first arise from !! that features over 50 musicians performing on challenging and rewarding collaborations. I am &ancient! in!strumen! t!s! !!from Kore !a. ! ! !! & ! ! !!!!!! !! deeply grateful to the Pacific Rim Music Festival ! director Hi Kyung Kim and to director general Audibl!e Numbers !    !  !* !!!!!!!!!!!!!! !!!!! !! !!!!!!!!!!!!! ! !!!!! of NGC, KIM Hae-sook, for the opportunity ! Seeking a balance between instruments and in - provided by their shared vision of this extraor - strumenta!!l- techn!iques b!! e!!tter adapted ! to inti - ! ! 0 ! ! !!!!!!!!!! ! ! dinary gugak orchestra project. mate solo and chamber performances than to Dreams of Falling is composed for and dedi - 7larg!e orchestral se!!ttings. C!o!ming to understand cated to the members of the National Gugak ! how the old instruments work and how people Center Contemporary Orchestra. (—DEJ) ! have played them through the centuries. • • • Working with the mus!!i!c! ians and! historians! as ! ! Edmund Campion is currently Chair of the they patiently helped m! e to better understand Department of Music, Professor of Compo - !!the relationships of music to culture and musi - sition, and Director at the Center for New Music 4!cian to! instrumen! t. Connecting !my! car!eer-long ! ! ! ! ! ! ! ! ! and Audio Technologies at UC Berkeley. He has !!!Dsear!ch for n! ew way!s to! crea!te music with emerg - received the Rome Prize, the Lili Boulanger ! ing technology with the simple and logical & & & & & & & & & & & & & & & & & & & Prize, the Paul Fromm Award at Tanglewood, design of Korean instruments. Using and im - the God dard Lieberson Fellowship given by & proving the computer program I helped design ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! the American Academy in Rome, and in 2016 a to assist with the composition of the music. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Guggenheim Fellowship. Recent commissions Thinking of tones and durations as numerical ! include the 2011 Commande d’état for Wavelike relationships that express themselves through and Diverse , written for Les Percussion des repetition, iteration, and transformation. Com - Stras bourg and released on the ensemble’s 50th bining the simple Pythagorean tone space with anniversary Universal CD collection; Auditory the complex, expressive, microtonal, and noisy Fiction (2011), commissioned by Société Géné - ornamentation space. Letting the instruments rale for Radio France; Small Wonder (The But - sound and speak just as they have for thousands terfly Effect ) (2012), commissioned by the Serge of years, while at the same time striving for Koussevitzky Foundation for the San Francisco something never before heard. Traveling for the Contemporary Music Players; and Auditory first time to Korea, connecting with people, and Fiction II (2014), commissioned by the ECO finding their minds open and anxious to live in Ensemble for the Venice Music Bien nale. In the present. Finding my already high level of re - 2012, while composer-in-residence with the spect for Professor Hi Kyung Kim growing ex - Santa Rosa Symphony, Campion was commis - ponentially through the course of a year. Feeling sioned for the The Last Internal Com bustion grateful to have been given the chance to partic - Engine , written for full orchestra, Kronos Quar - ipate in such a special and challenging project. tet, and electronics. Joshua Kos man of the San Thanks to Professor Hi Kyung Kim and to the Francisco Chronicle called the piece “a vivid and National Gugak Center in Seoul for providing richly imagined concerto.” In 2015 the famed me with this opportunity. And sincere thanks to Ensemble Intercontemporain co-commissioned the accomplished musicians of the Con tempo - Campion and audiovisual artist Kurt Hentschlä - rary Gugak Orchestra who were so generous ger for the 25-minute Cluster X . The multime - and willing to share their expertise. (—EC)

23 PROGRAM NOTES

• • • PERFORMERS LEE Geon-yong was born in Pyongannam-do, Korea, in 1947, the fourth son of a pastor who CHUNG Chi-Yong , conductor possessed great musical ability. Lee started to One of the most sought-after Korean conduc - compose songs at age 12 and played oboe in his tors of his generation, CHUNG Chi-Yong is middle school band. He completed undergrad - highly regarded for his vivid interpretations, uate studies with Sung-Jae Lee at Seoul National ) deep musica)l )i)n) sights, stro&ng ensemble lead)er - University and in 1976 went )to study composi)- ship, and v)irtu)oso baton tec)hnique. H)e is par - ) ) tion with Heinz Werner Zimmermann at the ticularly wel)l-known as a specialist in modern Frank furter Musikhochschule, Germ)any. He ) W) estern )and K) o) rean mu)sic, i)ncludin)g the wor)ks later returned to Ko)rea and ta)ught )at Seoul ) ) of Isang Y) un. ) ) ) ) ) ) National Un)iversity and Korea National Uni ver- After studying composition at the prestigious sity of Arts, where he served as president from S)eoul Nation) al U)niversit)y, he at)tend)ed Michael 2002 to 2006. Gielen’s conducting class at the Salzburg Mo- Though he mainly studied modern Euro pean zart e)um in Austria. Ch)ung served as assistant music, Lee found his own style by integrating conduc)tor of )the S)alzburg Int)ernational Sum- traditional K)orean and contemporary Western mer Festival, and was awarded the Austrian languages. He is one of the )pioneers of this amal - Ministry Cul ture Award upon graduation. gamation. Th! e seven-piece chamber series Song Following appearances as guest conductor of in the Dusk and Trio& for Kay!a!!g!!um, Violin, a !nd th !e Radio ! Symph !ony of L"eipzi!g, Prague !Radio Cello (comm!!i!ssioned by the Pacific Rim Music Symphony, Munich Symphony, Michigan State Festival in 2010) are& ex&&les of this c!!ontinu - S !ymphon !!!y, and Russian P-hilharm!onic, h!!!!!!!!!!!!e made ing work. ! his Korean debut with the Seoul Philhar monic Lee is well-known for his traditional instru - in 1992. Chung has conducted numerous Ko - & & & & ! !!!!! !! ! 5 ! ! !!!!!!!!!!!! ! ! mental writing. He has composed numerous rean orchestras, including the KBS Sym phony, ! solo pieces for kayageum, komungo, and hae- Bucheon Philharmonic, Korean Sym phony & & & & ! !!!!!!!!!!!!! !! 862+'/=! !!!!!!!!!!!!!! ! ! geum. His Variations on Hanobaeknyun , for Orch estra, Daegu Philharmonic, Daejon Phil- 5 ! ! ! ! kayageum and haegeum garak (traditional harmonic, and the Changwong Philhar monic, ! melodic formula), is one of the pieces most where he served as music director. beloved by !!p!!e!!r!!f!o!!r! !!mers. Le !e has a !@ long list Chung’s past! positions include the chairman - of tradition!!al orchestral works, from which ship of the Korean Conductors Associa tion. Masusan-Dr,oengchik& , &Sangok & (&&S&&ong of t &he A &mong h &is many &&distincti&ons ar!e the S! oo-Ke!!!!un !! !! Mountain) a! nd Doduri for Autumn are pre - Kim Culture Award, the Korean Culture Minis - sented most frequen&tly. & & ! !!!!!!!!!!t!!r!y! ! !Y!!o! !!ung Artist P!!r!i!z!!e!!,! !t!h!! e Music A!ssociation!!!!! of ! Korea Award, and the Korean Music Journalists Green Frog 
 ! &&> & !! !!A !ssociati !on Awa !rd. He 0cur!rently direct! s!!!!!!!!!! the ! ! For Pansori 7Sing!er and Gugak !!Orchestr! !a Incheon Philharmonic and the School of Music This piece is !a setting of a poem by Ki Man Paik, at the Korean National Uni versity of Arts. “Green Frog!.” The poem tells the story of the green frog, a very familiar legend to Koreans, HEO Jung-Seung !!!! ! ! ! ! featuring plain language and rich pansori flavor. Heo Jung-Seung, a pansori singer of the Jindo ! I love the poem, and can still remember the text National Gugak Center, graduated from the !! after five decades. I sing some of my own melo - School of Korean Traditional Arts, Korea Na- 4! ! ! ! ! ! ! ! ! ! ! ! ! ! ! dies when r!!!ecDitin! g it. T!he singe! r !in the! piece tional University of the Arts. He won a Gold narrates the !poem using pansori -inspired tunes, Prize in the National Gugak Center Gugak many of which a&re my or&igi&na&ls. Th&e orchestra& & Co& mpetitio& n &in the fie&ld of vo&cal m& usic. In &20&10 & & & & plays a supp&orting role, at times depicting the he sang the entire part of pansori “Heunboga” sound of the fro!g and de!velo!pin! g it in sev!era! l ! (arran! ged! by Ki!m So-H! i).! He has p!lay! ed the ! ! ! ways. (—LGY) ! ! ! ! ! ! ! lea! ding r!ole in s!ev!eral p!lay!s, including! ‘G! ong! - ! ! 24 PLAYBILL PROGRAM NOTES mudohwaga,’ ‘Sitgeum.’ HEO Jung-Seung also Chinary Ung has been composing works for works as a gugak instructor at the Jindo National decades that feature performers who are able to Gu gak Center. vocalize while playing their instruments, and Susan has become quite expert in this skill. He Susan Ung has written several works that feature Susan, Susan Ung began studying violin in her teens, including Spiral IX (for baritone, viola, and and her first serious viola teacher was No buko percussion), Spiral XI, “Mother and Child,” and a Imai at Northern Illinois University, beginning singing viola concerto, Singing Inside Aura. in the mid 1970s. (Many fine string players from Susan has performed these works and others at all over the world came to NIU to study with major venues across the US and internationally, members of the Vermeer String Quartet.) She including in New York City, Boston, Chicago, did her graduate studies in viola performance San Francisco, and in New Zealand, Australia, at Stony Brook University in New York, where South Korea, Cambodia, Vietnam, Thailand, there were opportunities to work with many fine Hong Kong, Taiwan, and China. Her recordings artists, and she learned there that she wanted can be heard on New World Records, CRI, to focus on contemporary solo and chamber Cam bria, and Bridge Records. music. Later, she helped to manage Ensemble 21, a contemporary music group comprised of per - formers from the Phoenix Sym phony and fac - This program will be repeated at the Pacific ulty members at Arizona State University, which Rim Music Festival at UC Santa Cruz on made several recordings in Phoenix. After mov - October 29, and at the National Gu gak Cen- ing to California she worked with Harvey Soll - ter in Seoul at 8pm on December 1. berger as a manager and principal violist of the forward-looking La Jolla Symphony. ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (

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( Singers : L( EE Jeong-kyu and Lee Jun-ah ( ((! ( ( ( ( ( ( ( ( ( Daegeum : KIM Jeong-su ( ( ( ( ( ( ( D(an( s((o : LEE( Myu(ng(-( h( un ( ( ( ( ( ( (( ( ( ( ( ( P((iri :( AN( ( Eu( n-ky(eon( (g ( Gayageum : LIM Eun-jeong ( ((! ( Geom(ungo : (PARK Yeon(g-seun((P(g ) ( ( Haegeun : KIM Jun-hee ( ( ( ( Yanggeum : JEON Myeong-seon ( Ja(n( gg(u : A( N H( ye-rye(ong ( ( ( ( (4( ( ( (

Samulno( r(i – Samdogar(a(((( k !(“Melo( d(y o( f th( e Thre(e Provinces”() ( &'() (( W*+$, X( National Gugak Center Samulnori ( ((! ( ( ( ( ( 4 4 4 ( Kkwaengg(w( ari : N(AM Ki-moon Janggu : KIM Su-yong J ( ( ( ((P() ( ( ( ( Buk (: LEE Dae-(won ( ( ( ( ( Jin( g : KA(NG Byung(-hyeok( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( 4( ( ( ( I(N( TERM( ISSION ( ( ( ( ( S( eung(mu (L(E(E( Mae-ba(ng4 s4tyle((P() )-4 ./ (01 ( Dancer : CHOI Byeong-jae P(ir(i : LEE Seung-(h( eon, HWA( N( G S(e-won ( ( ( (( ( ( ( ( Daegeu( m : (R( YU Geun(-(h(wa ( 4( ( ( ( ( ( (( ( Haegeum : LEE So-ra ( ( ( Ajaeng : (L( EE Hw((P(a()-yeo(n (( ( ( Jan(gg(u : YANG Jae-c( h( un 4 4 4 ( ( ( ((P() ( (

Sarangg(a in( pansor(i Chunhyangga ( ( 23$ 4(
(W&5$ X( ( P( ans(ori S( i(nger : HEO J(eo((n( g-seung 4( ( ( Buk: HWANG Yeong-nam C ( ( ( ( 4 4 4 Pyeongjohoesan(g –( Danhoesang ( ( 6789 4:4;89 4 ( Nat(ional Gu(gak (Cent(er of( Korea Creative Traditional Orchestra Jipbak : PARK Chi-wan

( ( ( ( *Jipbak : conductor

This program is supported, in part, by the Ministry( of Culture, S(ports, an(d To(urism( of t(he Republic of Korea.

This performance is made possible, in part, by the UC Berkeley Center for Korean Studies. ( ( ( ( Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. ( ( ( ( ( ( ( ( ( ( ( (

26 ( ( ( ( PLAYBILL ( ( ( ( ( ( ( ( ( ( ( ( (

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Sujecheo(n ((!"# ( (hour glass drum), buk (barrel drum), and jing Sujecheon , one of the most representative pieces (large gong). The genre of pungmulnori , histor - ( ( of Korean court cere(monial music, (w( as ori(gi - ically a folk art form practiced by farmers, was ( ( ( ( (nally calle(d Jeongeup . The tempo of the music brought indoors as a simplified percussion is slow, an( d its r(hythm(s are very ir(regula(r.( The qu(artet in (1978. Since then it has received ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( melody (moves in a un(i((q!ue stru(ctur(e c(alled ( worldw(ide recog(nition, bec(oming a(n important Yeoneum , meaning “conti(n(uous melodic f(o( rm.” sy(mb( ol o( f Korea( n music. ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( When the melody played by the piri is absent, ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( other instruments—such as the dae geum , hae - Seungmu (Lee Mae-bang style ) ( ( ( ( ( ( ( ( geum , sogeum , and ajaen(g —be(gin variation( s on ((P()-./ (01 ( the main melody(. In the 19th ce(ntury, it was Seungmu , an artistic dance performed by a pro - p(erformed when( the king left his palace, but fessional dancer, was designated as Important ( ( ((( ( ( ( ( ( ( ( ( ( ( ( (( ( today it accompanies th(e C( heo yong( mu dance; I(n(tangible C4(ultu( ral Prope(rty No. 27 in UNESCO’s ( ( ( ( ( ( ( (( ( it is also performed on its own as an instru - Intangible Cul tural Heritage in 2003 . A dancer, ( ((! ( ( ( ( ( ( ( mental w( ork. ( ( ( ( ( wearing white, long-sleeved monk’s clothes and ( ( ( ((P(( )( ( ( (a( cone-sha4pe4d hat, p4erforms peacefully and Geomungo Sanjo (Han G( (ab-deuk style ()( (so(meti( mes dy(namically, as( i( f she or he (h( as been ( ( ( ( ( ( (  ( ( cleansed of misdeeds and has accomplished The geo(mu(ngo is a si( x-stringed zithe(r (with frets4,( ( nirvana. (A six-piece wind ensemble accompa - ( ( ( ( ( ( ( ( ( played with a bamboo( stick( . Sanjo is ( a folk ((P()nies the (dance(. music genre in which a solo instrument plays a ( ( ( ( ( ( ( ( ( d(ynamic (m( (elody( ac(c(ompan( ied by( a( n( hourglass4 4 Sarang4ga in pansori Chunhyangga ( ((! ( drum or a barrel drum( . (Sanjo m(usic is most ( ( 23$ 4(
(W&5$ X( often per( f((o!rmed i(n pieces ranging from 10 Pansori, the most representative Korean folk ( ( minutes in length to one hour. It begins with a vocal music, has been developed since in the ( ( (( ( ( ( ( ( ( (( ( very slow temCpo and gra(dually( ( s( peed( s up to ( ( ( 18th (ce( nt4ur4y. The( tr4aditio(nal repertoire includes ( ( ( ( ( ( faster rhyt(hms. A( long w( ith this sec( tional( s(truc - th(e Songs (of Chun hyang, Simcheong, Heungbo , ( ( ( ( ( ( ture, sanjo music has been developed in various and the Songs of the Undersea Palace and Red ( ( ( ((P() mo(des an( d scales. Cliff . However, songs with new stories are ( ( ( ( ( ( (( ( ( being created to this day. Pansori was designated Gago(k , Taepyeongga ( ( $% 8(
as Important Intangible Cultural Property ( ( ( ( ( Tae4p( ye(ongga is t(he last song of gagok , which is No. 5 by UNESCO. a collection of songs b(egin( n(ing with Ch(os((u( dae - ( S( aran( gga is( the most im( p( ortant an(d( well- ( yeop . In gagok , the male and female singers take known piece of the pansori genre. Sarangga was ( ( ( ( turn4 s4 sin(g(ing 4until the (l(ast song, w( h(en t(hey (performed by( ( many profe(( ssional sing(ers; thus, ( ( ( ( ( ( eventually sing together. It is the grand finale of diverse styles have been transmitted to the pres - ( ((! ( ( ( ( ((P() ( ( the entire gagok . This song features a contrast ent. Generally, the song proceeds from the slow between the energetic male voice )and the so - Gin Sarangga to the fast Jajin Sarangga and de - ( ( ( ( ( ((P( ( ( ( ( ( ( phisti(cated( and delica(te(( v(oice of (the female (p(icts dive4r(se a( spects of( love. ( ( ( ( ( ( singer. (This pie(ce shows the structure of full gagok cy(cle(, beginn(ing with a slow (te( mpo, fo4l (- ( Pyeongj(ohoesang – Danhoesang lowed by various son(g sty(les of n(on(g, (n(ak, and ( ( 6789 4:4;89 4 pyeon , and then returns to the original style. Pyeongjohoesang is one of the versions of Yeong - ( ( ( ( The lyrics celebra( te( living in a pro(s( perous age4. 4 sanho4esang , performed by louder instruments. In Pyeongjohoesang , the melody is transposed Samulnori – Samdogarak ( “Melody of the down a fourth from the first version of Yeong - ( ( (( ( ( ( Three( Provinces”)( ( &'() (( W*+$, X( sanhoesang. Pyeongjohoesang thus produces ( ( ( ( ( ( The percussion quartet Samulnori is composed a more profound and peaceful effect. The work of the kkwaenggwari (small gong), janggu is performed by strings and winds. The forces J ( ( ( ((P() ( ( 27 ( ( ( (

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( ( ( ( PROGRAM NOTES are greater than in the original suite, and the impression louder and more vigorous. Pyeong - This program was presented at the Pacific johoesang is also performed as accompaniment Rim Music Festival at UC Santa Cruz on for the court dance Chunaengjeon (“Dance Wednes day, October 25. of Chunaeng”). Another name for the work is Yucho sinjigok , meaning “music of a fresh wil - low in early spring.”

PROJECT SPONSORS AND SUPPORTERS Pacific Rim Music Festival, University of California, Santa Cruz; Arts Division, University of California, Santa Cruz; Arts Research Institute, University of California, Santa Cruz Ministry of Culture, Sports, and Tourism, Republic of Korea National Gugak Center of Republic of Korea Consulate General of Republic of Korea, San Francisco e Korea Times, San Francisco Department of Music, University of California, Santa Cruz Department of Music, University of California, Berkeley Center for Korean Studies, University of California, Berkeley

ORCHESTRA ROSTER

National Gugak Center of Korea Geomungo Creative Traditional Orchestra Kim Joon-young, principal PARK Chi-wan, artistic director Park Young-seung, Lee Sun-hee, Seo Jeong-gon, CHUNG Chi-yong, guest conductor Joo Eun-hye Park Young-seung, concertmaster Ajaeng Jun Kyu-hak and Lim Kyu-soo, orchestra managers Lee Hwa-yeon, principal Piri Yoon Na-geum, Bae Mun-kyung, Choi Hye-rim Lee Seung-heon, principal Percussion Ahn Eun-kyung, associate principal Choi Yun-jung, principal Lim Kyu-soo, Hwang Se-won, Jin Yun-kyong, An Hye-ryung, Seo Su-bok, Yang Jae-chun, Kim Bo-mi, Park Gye-jeon Hwang Young-nam, Kim Tae-joung Daegeum Sogeum: Im Joon-hyung Kim Jung-su, principal Lee Myung-hoon, associate principal Yanggeum: Chun Myung-sun Joo Min-kyung, Ryu Keun-hwa, Lee Pil-ki, Kim Gi-bum, music librarian Kim Yong-su Court Music Orchestra Haegeum Jeongga: Lee Jung-kyu; Lee Jun-ah, concertmaster Ahn Kyung-hee, principal Lee So-ra, associate principal Jindo National Gugak Center Kim Jun-hee, Kim Jin, Ahn Hye-jin, Pansori: Heo Jung-seung Cho Hye-ryung, Go Yoo-houn Folk Music Group Gayageum Samulnori: Nam Ki-moon, Lee Dae-won, Lim Eun-jung, principal Kim Su-yong, Kang Byung-hyok Lee Ji-hye, associate principal Dance Theater Seo Eun-yeong, Choi Bo-ra, Lee Ju-in, Lee Ji-eun Seungmu: Choi Byeong-jae, choreographer

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