Jose Carreras Still Got It

Photo courtesy of Goyang Cultural Foundation

Tenor Jose Carreras wrapped up his South Korean recital tour Tuesday with a crowd-pleasing program in Goyang, Gyeonggi Provice, a satellite city of Seoul. (The last public concert he had here was in 2006. In '07 and '08 he came for those fancy, private functions.)

The 63-year-old Catalan took some time to warm up his voice (and it was really, really warm in the concert. I was particularly irritated by the Korean Symphony Orchestra (argh in less than a week after Friday's "Fidelio"), which, conducted by the singer's nephew David Gimenez, kept confusing power with volume and drowned out the vocal.

After intermission, however, Mr. Carreras showed why he's one of The Three Tenors in an impassioned duet with soprano Park Mi-hye. I loved Ms. Park's singing -- even though her lung capacity was slightly lacking (weak volume), her voice was silvery and lyrical.

He wrapped up the evening with "Musica Prohibita" and gave two encores including "Granada."

>>Read about what Mr. Carreras told reporters recently in Seoul

>>Read about the recent Seoul recital of Placido Domingo, the other surviving member of the Three Tenors.

Multiple Pianos Create Formidable Sound

From left, pianists Kim Jun-hee, Paik Kun-woo, Kim Sun-wook and Kim Tae-hyung play together in a rare concert featuring four pianos at Seoul Arts Center, Sunday. The four artists, shown here performing an encore piece on one instrument, are touring South Korea through Friday. /Courtesy of Credia

Evgeny Kissin’s Seoul tour in April seemed like it would be the most talked-about classical music event of the year. Barely a month following the Russian sensation’s performance, however, maestro Paik Kun-woo and three rising South Korean pianists set the Seoul Arts Center concert hall on fire -- again.

The beauty of a live piano performance is, in addition to hearing inspired melodies in real time, seeing the artist’s flying fingers in motion. Seoulites saw Monday and Tuesday such dynamics of not two but eight hands, conjuring to life four Steinways in ways the local art scene has never seen before.

A single one of these instruments is enough to generate the sound of an orchestra. Many multiple-piano pieces were originally conceived with the sound of the harpsichord or light fortepiano, and on modern instruments sounds tend to be unpleasantly thick and cluttered.

The recent performance -- something rare not only in Korea but also abroad -- brought together four shining artists that individually possess the star power to attract more than enough attention. In 2007 Paik rewrote classical music history by playing all 32 of Beethoven’s piano sonatas in just seven days. This time, joined by the three rising pianists -- Kim Tae-hyung, Kim Sun-wook and Kim Jun-hee -- the maestro pianist added a splash of color to the sometimes-monotonous local music scene (the three Kims, all barely past their teens and sharing the same alma mater as well as an impressive resume of top wins in international competitions, are unrelated).

With their inspired performance, the four artists hushed doubts that such a concert would be for show, and that four grand pianos could, with the right repertoire and teamwork, work together like a single unit. It was also a special treat to see the four alternate the parts of first, second, third and fourth pianos, instead of the elderly artist dominating the lead, for Wagner’s Overture to ``Tannhauser’’ and Milhaud’s ``Paris Suite’’ for Four Pianos, Op. 284.

A grand spectacle unfolded when Rachmaninov’s ``Symphonic Dances,’’ Op. 45, for two pianos, was presented in relay form, with Paik at the first piano and the three youngsters joining him one at a time for the three movements. The heated concert peaked with Ravel’s ``Bolero,’’ transcribed by Jacques Drillon, as the four instruments gave way to delightfully attuned interplay.

A full standing ovation followed, as heated as that in Kissin’s recital, and in return the players offered ``Carmen Fantasie,’’ and, sitting in a single row in front of one piano, Lavignac’s ``Galop-Marche.’’

Another special event took place Sunday, which also happened to be Paik’s 63rd birthday, and the three Kims sang happy birthday to Sun-wook’s piano playing.

The four pianists continue their tour tonight in Daegu and Friday in Goyang, Gyeonggi Province. Tickets cost from 20,000 won to 100,000 won. Call (02) 318-4301.

"This Is Richard Strauss"

Two straight nights of the Dresden Staatskapelle -- "hail maestro Luisi!"

Photo courtesy of Sejong Center for the Performing Arts

The Dresden Staatskapelle concluded its Asia tour in Seoul with two different programs this past weekend.

Maestro Fabio Luisi (who also heads the Dresden Staatsoper) lead the 461-year-old "Richard Strauss orchestra" for a definitive performance of "Ein Heldenleben,'' Op. 40, Saturday, and a formidable "Also Sprach Zarathustra" (woohoo! Space Odyssey), Sunday.

The full, bursting colors of the fortes took my breath away, but the commanding power in the pianissimos were... simply... amazing. The amazing Emaneul Ax performed Beethoven's Piano Concerto No. 3 and Strauss' Burleske for Piano and Orchestra.

Encores included Bruch's Overture to "Oberon" and Mr. Ax played a Liszt piece... argh I can't recall the title. Anyway two nights of DSK felt like binging on caviar and champage.

Read an email interview with maestro Luisi.

Chorale Enlivens Beethoven in Opera `Fidelio’

It’s not often that quantity is in par with quality. In a rare performance in Seoul this weekend of ``Fidelio,’’ MuAk Opera offered a novel experience complete with an impressive 100-plus-member chorus that showed what Beethoven is all about.

The German master’s unique opera, despite its high musical merits, has been infrequently staged. The performances Thursday to Sunday at Seoul Arts Center marked its reappearance here after 17 years, and two were rendered for the first time in German. The opera received its South Korean premiere in 1970 but the underlying theme of freedom and justice prevailing over tyrannical power made it taboo under the militant regime of the ‘70s and ‘80s. Also, its preachy idealism of conjugal marriage and political austerity made it a less popular repertoire compared to Rossini’s melodramas or Mozart’s comedies.

Despite featuring a rather dark story set on a minimal stage set, MuAk Opera offered a production teeming with some brilliant musicality -- talented singers and, moreover, striking choristers, compensated more than enough for mistakes and even the opera’s inherent flaws.

The political story can be described as a romantic ``Prison Break’’-meets-Shakespeare’s ``Twelfth Night.’’ In 17th-century Seville, a nobleman Florestan is imprisoned for disclosing the evil Don Pizarro’s scandal, and his brave wife Leonore disguise as a prison guard to rescue him. Supporting characters that propel the narrative are Marzelline, who falls in love with Leonore-cum-Fidelio, and her father, the jailor Rocco, as well as Don Fernando, a friend of Florestan who arrives just in time to save Florestan and Leonore’s lives and condemn Pizarro.

In Friday’s production, soprano Lee Ji-young, a graduate of Placido Domingo’s young artist program, invited operagoers to plunge right into the story as the creamy Marzelline. Even in the supporting role, the lyric soprano made a vivid impression that commanded attention, as her voice bloomed beautifully in the girly role, with gleaming highs and radiant middle notes.

Kim Nam-su as Rocco also shined through as one of the noblest baritones this reporter has heard in Korea. He had a voice to match his dramatic presence, whose low range was marked by rich timbre and ample volume. Choi Joo-il, however, was not very imaginative in playing the figure of towering evil. While his buff physique suited the role of Pizarro, the orchestra constantly drowned out his thin voice. Moreover, the Korean Symphony Orchestra, led by Cheh Seung-hwan, often faltered in keep the rhythm with the singers.

Another less-than-perfect performance was delivered by the lead, Susan Anthony, who demonstrated that the part of Leonore-cum-Fidelio, with its merciless runs and scales, is a burdensome challenge for any soprano, no matter how talented. The dramatic soprano compellingly portrayed a character that is more human than superwoman. Vocally, however, she achieved power by sacrificing tone, particularly in the cruelly exposed high B’s of the ``Abscheulicher’’ aria, and the aria her character sings after rescuing her husband, which, in terms of narrative feels already superfluous, was rather lackluster.

However, it was hard not to be impressed. ``Fidelio’s’’ ideological core is the ``Prisoners’ Chorus,’’ and the MuAk Opera made a commendable attempt to make sure it was memorable. Members of the MuAk Oper Chorus and Grande Opera Chorus dominated the stage not only with their sheer number but also with their perfect harmony. In the hopeful upward-reaching motif, the prisoners greeted the open air with a rapturous tribute to freedom, as if to say, ``this is Beethoven’s chorale.’’

The production peaked in the second half, with the long-awaited appearance of Steven Harrison -- the Florestan of the hour. The act opened in the dark prison dungeon, the stage bare and the tenor all alone. But the stage brimmed with his powerful and tonally beautiful voice: In the anguished cry of ``Gott!’’ his instrument depicted pain most compellingly yet effortlessly, without the least bit of pain his notes.

MuAk Opera’s foundation was inspired by Yonsei University’s 2005 production of ``The Magic Flute’’ to fete its 120th anniversary. Most of cast and crew, naturally, share a common alma mater, which this reporter presumptuously assumes, was responsible for the miscasting of some of the roles. Nevertheless, the young opera group proved to be a breath of fresh air in the local opera scene, with its bold repertoire choice and determination to put artistry above financial concerns.

Kim Solbong Premieres in Spring Fest

The Seoul Spring Festival of Chamber Music (SSF) opened Thursday at Sejong Chamber Hall, downtown Seoul, its fourth edition with a concert celebrating both continuing traditions and modern innovation.

While popular artists, including pianist Kim Sun-wook and the Jupiter String Quartet from the United States, offered tasteful renditions of Beethoven, Mozart and Schubert, rising South Korean composer Kim Solbong presented something new in his latest chamber piece ``Sundial Chronicles.’’

The festival’s 2009 composer-in-residence offered what he calls ``a rite of spring chronicling the change in time’’ through an eclectic dialogue among Western classical instruments and a couple ``gugak’’ (a traditional Korean music) organs, ``janggu’’ (drum) and ``gayageum’’ (12-string zither).

From left, gayageum and janggu. Photo by moi! During rehearsal

Of course, such a meeting point of East and West isn’t new. One can easily recall Yo Yo Ma’s Silk Road Ensemble which brings together violin, Brazillian shakers and Chinese ``pipa’’ (lute) to create sounds such gadgets weren’t meant to make, or Ahn Eack-tai’s Samulnori Concerto, which features the harmony of Korean traditional percussion art and the Western orchestra.

What is significant in the premiere is the effort of the young composer, who is not yet 28, to deconstruct the concept of chamber music, and the result is spontaneous combustion by what many exclaimed that evening as ``a dream team.’’

Kim himself tackled the piano -- including string plucking with a spoon that John Cage fans would appreciate -- opposite the janggu beats of maestro Kim Duk-soo. The founding father of samulnori brought exhilarating rhythms in solos, but stealthily controlled the volume for other parts in the spirit of true chamber music making.

Photo by moi! During rehearsal. I love it when Mr. Yang exclaimed "eolssu! (얼쑤)!"

They were joined by violinist-SSF artistic director Kang Dong-suk, cellist Yang Sung-won, clarinetist Jerry Jae-il Chae and gayageum artist Kim Ji-hyun. It was something that continues the spirit of shaking up conventions: the Western strings retained their essence but also strived for something more, with some wild lilting and vibrato, that could well have been played by a ``haegeum’’ (Korean fiddle) -- akin to how Isang Yun has the cello croon like ``geomungo’’ (Korean zither) in his Concerto for Violoncello and Orchestra.

It would be rash, however, to assume that Yun or the other aforementioned artists influenced Kim. This reporter only mentioned these men’s works in an attempt to illustrate the unique nature of the performance. If a parallel were to be drawn, Chin Unsuk comes to mind -- Kim, like the prolific elder composer, defies categorization and speaks a musical language that is modern yet non-doctrinal.

Born in Korea in 1981, Kim studied at the Curtis Institute of Music in the U.S. He entered the public radar by winning the grand prize of media giant Bertelsmann Group’s 2000 World of Expression Awards and has since premiered diverse works. But ``Sundial Chronicles’’ posed a completely new experimentation, both technical and aesthetic.

``I was in such a zone of discomfort it felt like my first time composing,’’ the musician said about his first time working with Korean instruments, which are percussive and less practical than their Western counterparts.

``It’s a starter,’’ Kim Duk-soo said about the piece. ``Solbong is really talented, and we need more young artists to experiment like he does. I’m looking forward to what he can do next.’’

Indeed, the beauty of ``Sundial Chronicles’’ lies in its innovative power that will, this reporter hopes, propel the creation of something new and named and transcending self and heritage, a struggle every artist faces.

Does this multimedia world, where channels are more open than ever, challenge the creative process? ``It’s only a technical problem. Mediums, expressions will always change, but intentions and ideas of music always come first,’’ he said, citing Rachmaninov as an example of someone was not particularly a pioneer in hs time but whose works have enduring strength. ``As long as you are truthful, art will prevail,’’ he said.

Kim will serve as artistic director of Dumbo Space, a new hall under construction in his current home, New York City, as well as that of the 2009 Atlantic Music Festival, which opens June 22-July 21 in Maine.

Jose Carreras to Hold Recitals

Photos courtesy of Goyang Aram Nuri

Jose Carreras will hold three recitals across South Korea beginning Friday through May 12 -- not as a stopover of an Asian tour but in order to revisit the local audience.

``Korea is, for an artist, a wonderful pleasure. The tradition and knowledge here for classical music and opera are incredible,’’ the tenor said in a press meeting in Seoul, Wednesday. He was presiding over the jury at a recent Verdi Competition and 70 percent of the contestants were Korean, he explained, and prominent European and American orchestras have many Korean members.

``Going to Korea is something that any artist has to be proud of, and I am very proud to come to Korea. I came to your country for the first time in 1979, 30 years ago, and since then I had a wonderful, wonderful experience. It’s a privilege to come to your country,’’ said the Spanish singer, who, along with Luciano Pavarotti and Placido Domingo, is considered one of the three great tenors of modern times.

``Yes, I keep in touch with Placido as often as we can,’’ he said, despite their different schedules and frequent travels, and plans on visiting him soon in London. ``Our friendship and our professional relationship are still there and I’m very happy to have it,’’ he added. On a more somber note, he said he greatly missed the late Pavarotti. ``We lost one of the most important tenors and singers of the history of opera. Not only that (…) we lost a wonderful friend, a very charismatic person, a very caring friend. It was a tremendous pleasure to not only work with him but to talk to him. He was a sensational guy,’’ he said.

Jose Carreras, center, and sopranos Fiona Campbell and Park Mi-hye

While Domingo, who also recently held an Asia recital exclusively in Seoul, is still active on the opera stage, Carreras said he prefers recitals, though he would accept an operatic role if the conditions are favorable. For the tour here, he will sing popular operatic arias and folk songs including ``Lamento di Federico’’ from the opera ``L’Arlesiana’’ and ``Lejana Tierra Mia,’’ joined by sopranos Park Mi-hye and Fiona Campbell. ``I will be singing `New Arirang,’ and as soon as I heard it I knew I would like Korea,’’ said Campbell about singing the traditional local song on her first visit here.

Meanwhile, Park, who took the stage opposite the tenor several times in Europe, said it was always a great honor to sing with someone who inspires not only with music but also with his personal triumph. In 1987 at the height of his success, Carreras was diagnosed with leukemia, but miraculously overcame the disease.

Fighting Leukemia

``Of course when someone gets a diagnosis for acute leukemia, this is very hard to swallow… You have possibilities: one is to be passive as a patient and let things go, the other thing is to fight with determination,’’ he said. When doctors told him he had ``the possibility of one in a million’’ to recover completely, he had to grab that chance and fight. ``I think this is absolutely indispensable,’’ he added.

(Ma questionne) ``Yes,'' music itself was inspirational -- ``a wonderful shelter,’’ he said. ``Music therapy is something doctors recommend to patients. Music always plays a very important role in our lives, not just for musicians but in the lives of everyone.’’ >>More

>>Read about Im Tae-kyung, a young Korean crossover tenor who also overcame leukemia.

Soprano Lee Ji-young to Play Supporting Role in `Fidelio'

Photo courtesy of MuAk Opera

Lee Ji-young, who wowed the local audience as a guest singer in Placido Domingo’s Seoul recital in January, will appear as Marzelline in MuAk Opera's production of ``Fidelio,'' which will be staged Thursday through Sunday at Seoul Arts Center.

Some felt baffled that the rising U.S.-based soprano accepted the minor part, but Lee expressed great affection for the production.

``I was initially reluctant about appearing in the opera, not because it was a supporting role -- Marzelline’s part actually suits my voice better than Leonore’s -- but because I debuted here only recently (in Domingo’s recital),’’ she told The Korea Times, Friday in Seoul. A graduate of Domingo’s prestigious Young Artist program, she received critical acclaim for a lead in the Washington National Opera.

But she was ultimately drawn to the visions of the newly founded Muak Opera and the initiative of the project, which also coincides with the celebration of the 120th anniversary of her alma mater Yonsei University. ``I think the `how’ or `why’ part, rather than `what’ you do, is more important,’’ she said.

Originally a classically trained pianist, Lee began singing at a very late age, her senior year in high school. ``I had never heard an opera until then,’’ she chuckled. ``But in college, I fell in love with `La Boheme’ through Prof. Kim Kwan-dong (MuAk Opera’s artistic general director).’’

Afterward, Lee headed to the U.S. for further study. The road to her blooming success, however, was far from easy, as visa problems postponed the launching of her career. Domingo’s program was the only one that granted visas to participants, and Lee entered what she calls a ``great turning point.’’

``I was almost 10 years older than most people in the program, but everyone has their own path. Before, I used to feel anxious about becoming a diva and making it big. But I prayed a lot to God and rediscovered my reason for singing,’’ she said.

Marzelline is certainly a minor part, but Lee said she is a most crucial character that uplifts the dark story and helps the protagonist. On the opening night of the Washington National Opera’s ``Daughter of the Regiment,’’ Domingo himself had presented Lee as ``the daughter of the opera house.’’ Indeed, Seoulites will be able to see Lee shine through, as this reporter did in a rehearsal of ``Fidelio,’’ for quality reigns over quantity.

``Fidelio’’ begins at 8 p.m. except for Sunday, which will be a 4 p.m. matinee show. Thursday and Saturday productions will be in Korean, while the ones on Friday and Sunday will be in German. Tickets cost from 30,000 won to 150,000 won. Call (02) 720-3933.

Beethoven’s `Fidelio’ to Be Staged in 17 Years

(Photo courtesy of MuAk Opera)

Seoul’s classical music scene is becoming increasingly diverse, but operas remain mostly limited to the standard repertoire of Mozart, Puccini and Rossini. MuAk Opera presents Thursday through Sunday a rare production of Beethoven’s ``Fidelio’’ -- for the first time here in 17 years and for the first time in the original German.

Beethoven’s unique opera, ``Fidelio’’ has been seldom revived since its 1805 premiere in Vienna under the German master’s own baton. Johan Simons brought the piece back into focus last fall through a modern reinterpretation at the Opera Garnier in Paris.

``Fidelio’’ debuted here in 1970 but wasn’t restaged until 1992 due to the strict military regime of the ‘70s and ‘80s. Set in 18th-century Seville, Spain, it traces a faithful wife Leonore’s efforts to save her husband Florestan, who had been illegally imprisoned for revealing the corrupt acts of Don Pizarro. She disguises herself as a man and enters the prison as a guard under the alias Fidelio and schemes to rescue Florestan from death row -- ``Prison Break,’’ anyone?

``We chose to stage `Fidelio’ rather than more popular works such as `Tosca’ because we felt a responsibility to introduce novel works to opera lovers,’’ said artistic general director Kim Kwan-dong in a recent press conference in Seoul.

``It isn’t light entertainment, as it depicts human sufferings. But the universal messages are relevant in modern society and shows that light shines in darkness,’’ he said. ``The story is dark but it is ultimately a happy ending,’’ said director Choi Ji-hyung. Indeed, the opera celebrates the triumph of love, justice and freedom. It also has some comic relief in the tradition of Shakespeare’s ``Twelfth Night,’’ where a young girl, Marzelline, falls in love with Fidelio.

The visuals will reflect the stark realism of the story, but MuAk Opera promises spectacular music, especially for the famous ``Prisoners’ Chorus’’ with an impressive cast of over 100 singers from the Grande Opera Choir. ``We did not want to compromise the work’s artistry for economic factors,’’ said the director.

``I’ve had the pleasure of hearing maestro (Choi Seung-han) conduct the chorus, and it’s one of the most beautiful sounds I’ve heard. From the quiet pianissimos to the triple forte, it had perfect diction and the most beautiful sound,’’ said American tenor Steven Harrison, who will share the role of Florestan with the popular Han Yoon-seok. Meanwhile, sopranos Na Kyung-hye and Susan Anthony will alternate the part of Leonore.

``Fidelio’’ begins at 8 p.m. except for Sunday, which will be a 4 p.m. matinee show. Thursday and Saturday productions will be in Korean, while the ones on Friday and Sunday will be in German. Tickets cost from 30,000 won to 150,000 won. Call (02) 720-3933.

Beethoven Galore

In addition to ``Fidelio,’’ other pieces of music by Beethoven will fill local halls throughout the month. The Seoul Spring Festival of Chamber Music, under the theme ``Beethoven Plus,’’ presents the composer’s chamber works through May 18 in various venues around the capital. Visit www.seoulspring.org.

On May 23, virtuoso pianist Kim Sun-wook will join his former teacher, pianist-conductor Kim Dae-jin, for Suwon Philharmonic Orchestra’s special two-part concert featuring Beethoven’s complete Piano Concertos, at Gyeonggi Arts Center in Seoul’s satellite city, Suwon, Gyeonggi Province. Call (031) 288-2813~5.

Dresden Staatskapelle to Enliven Strauss in Seoul

This weekend classical aficionados can savor Richard Strauss in its original tongue through the definitive ``Strauss orchestra,'' Dresden Staatskapelle.

The 461-year-old troupe is wrapping up its Asia tour here with two programs dedicated to the tone poems of the German master.

``The force of this orchestra is (its) very high ethical understanding of his importance in music history and the will to preserve (its) truly unique sound,'' said maestro Fabio Luisi in an email interview. He said he was curious and excited to meet the local audience in his first visit to South Korea.

A highlight of the Saturday show at the Sejong Center for the Performing Arts, downtown Seoul, is the revival of ``Ein Heldenleben,'' Op. 40, which will end with a gentle violin solo according to Strauss' original intentions.

The following evening, Sejong Center's pipe organ, the largest in Asia, will resound for ``Also Sprach Zarathustra,'' which many will recognize as the grand thematic score of the movie ``2001 Space Odyssey.'' Also featured is the ``Burleske'' for Piano and Orchestra with Emanuel Ax.

``I chose the program in order to show, on the one side, the stylistic history of the Staatskapelle, which actually is the `Richard Strauss Orchestra,' and on the other side, to present the major characteristics of this orchestra, which are a beautiful, smooth sound and the ability to play and understand properly the Romantic repertoire,'' said the conductor.

Born in Genoa, Italy in 1959, Luisi originally taught and played piano. Conducting local operas lead to an international career, and his engagements include general music directorship of the Semperoper Dresden (Saxonian State Opera) and principal conductorship of the Vienna Symphony.

``Both opera and concert are important to me,'' he said. ``In the opera I have to conduct a work in which the stage plays an important role ― this is complicated but very interesting. In a concert I can focus on absolute music.''

In regard to conducting style, he said he admires Leonard Bernstein, Herbert von Karajan and Rudolf Kempe ― ``conductors who can equilibrate feeling and rationality.''

He regards Kempe's Strauss recordings as being ``still the best.'' ``Kempe gave some objectivity to the pompous element in Strauss. Today the trend is towards opulence again, and I much prefer the distanced opulence of Karajan and others to the exaggerated sensuality of some of my colleagues who are not interested in the truth of the work but only in packaging it nicely,'' he said in a statement released by Sony Classical.

As for the Dresden Staatsakapelle, he strives to preserve and develop the unique characteristics of one of the world's oldest ensembles. ``The Staatskapelle always was an orchestra that has given a break to young composers. These young composers used to be called Richard Wagner and Richard Strauss,'' he said, and aims to link in to this tradition by appointing Isabel Mundry and Bernhard Lang as composers in residence.

Tickets cost from 50,000 won to 250,000 won. Call (02) 399-1114~6.

Jung’s Musical Promenade Through Paris

Such a lovely man. It was a fun interview; we got carried away talking about Paris, being multilingual (not us but the crazy multilingual people we know), and being fans of the composer Unsuk Chin.

Singer-songwriter Jung Jae-hyung has released a new album, ``Promenade,’’ under the Sony Classical label, and some may be surprised to realize that this is actually the soundtrack for the currently showing ``What Brings You to My House.’’

The former pop star has written scores for several movies including ``Addicted’’ (2002) and ``Love Now’’ (2007), but Promenade involved a different creative process. The tracks may have been inspired by the quirky love story starring Kang Hye-jung, but the movie’s postponed release gave Jung a good year to work on the music as if it were a solo project.

``It functions as a film soundtrack but I wanted it to have a life on its own,’’ the 37-year-old told The Korea Times in a recent interview in Seoul.

Creating music for Promenade was ``like a picnic,’’ he said, and ``happened piece by piece,’’ and this is reflected in the meandering ambiance of the tracks. Piano, cello, flute, oboe, horn and viola tunes conjure up images of warm sunbeams on a lazy afternoon and the sight of light spring rain outside the window of a quiet café.

Singer-songwriter Jung Jae-hyung. (Courtesy of SonyBMG)

The classical instruments, however, take on a more contemporary and edgy -- and at times slurred and discordant -- texture through Jung’s electronic sound designs. There’s also a touch of pop featuring vocals by Lucid Paul and actress-singer Uhm Jung-hwa. Uhm, Jung’s good friend of over 15 years and who has starred in three of the movies he composed scores for, stopped by the venue to say hello.

His music is ultimately modern in language but is simple, poetic and unimposing. Despite the electronic mixing, the result is something whimsical and natural, perhaps similar to the Ahn Trio’s ``Lullaby for My Favorite Insomniac.’’

``Electronic music often feels cold and mechanic, but I tried to draw out warmth,’’ he said. The artist intentionally added glitches to the melody by squishing together some of the rhythm even though it may not be immediately detectable by the naked ear -- perhaps like adding small rips to create fake vintage jeans? ``Yes,’’ he said.

It’s only natural that the album is impressionistic in color; like Impressionist painters who took the easel outside of the studio, the Paris-based artist went on an actual promenade through the city. He would settle down in an outdoor cafe and be inspired by the noise of passing breezes and pedestrians and the clinking of coffee cups.

Like the honored composer Chin Unsuk, of whom he is a big fan, Jung is a classically-trained pianist who speaks in electronic music. ``The beauty of electronic music is that it enables you to directly translate your intentions, to enliven the original ingredients and keep your color,’’ he said. ``Arranging sounds created with classical instruments is rather limited. Electronic sound design is actually easier for me.’’

Is it like working with a sharp pencil for drawing? ``Yes,’’ he smiled. ``Electronic sound mixing enables you to, if it were a drawing, draw a perfectly straight line using a fine-point pencil.’’ Electronic music, he said, is just a convenient tool that allows the artist more versatility in this multimedia age.

``What used to be one-way sourcing is now all open,’’ he said about today’s merging of genres. Jung, a prolific singer-songwriter, also writes prose and draws images such as the watercolor sketches featured in his album.

``It’s not that I’m multitalented or anything. They’re just different forms of self-expression, and these days I don’t think artists need to classify themselves. Ryuichi Sakamoto started out as an electronic musician but now writes music for movies,’’ he said. ``But at the same time, I’m scared. You can go so many ways, with video art and performance, etc,’’ he said.

When asked about his future plans, he already had the next two years mapped out, with a new film score and solo piano album, as well as publishing a book and getting involved with a musical.
``My dream is to simply live toward my dream, and to cherish it. I started out with the simple premise of wanting to do my own music and that’s the most important thing. I wish to become a good-hearted egoist,’’ he smiled.

Star Soloists Coming to Town

The local classical music scene will catch spring fever next month. In this high tide of concerts, however, there are several not to be missed featuring honored soloists such as pianists Martha Argerich and Emanuel Ax, and their protégé, Lim Dong-hyek, and cellist Jian Wang.

Emanuel Ax (Courtesy of Sejong Center)

While many fans were disappointed by the cancellation of tours by foreign troupes such as the Orchestre Philharmonique de Radio France and the Cincinnati, the Staatskapelle Dresden’s Strauss-themed Seoul concerts remain intact.

On May 9 and 10 at the Sejong Center for the Performing Arts, in downtown Seoul, Grammy Award-winning pianist Emanuel Ax will join the 461-year-old orchestra for Beethoven’s Piano Concerto No. 3 in C Minor, Op.37, and Strauss’ ``Burleske’’ in D Minor for Piano and Orchestra.

Founded in 1548, the German troupe is the oldest in the world and has premiered works by great masters such as Vivaldi, Schumann, Wagner and Liszt, among others. Feted conductor Fabio Luisi will lead the group. Tickets cost from 50,000 to 250,000 won. Call (02) 399-1114~6.

Jian Wang
(Courtesy of Deutsche Grammophon)

Cellist Jian Wang is a leading artist, arising from post-Cultural Revolution China a generation before young stars like Yundi Li and Lang Lang.

Wang rose to worldwide fame at the age of 10 when he appeared in violinist Isaac Stern’s documentary ``From Mao to Mozart: Isaac Stern in China,’’ and has since appeared on the world stage alongside artists of renown such as Seiji Ozawa.

The cellist will appear May 14 at Seoul Arts Center for the second of the Seoul Philharmonic Orchestra’s ``Virtuoso’’ series. The Deutsche Grammophon-recording artist will play Dvorak’s Cello Concerto in B Minor, Op. 104. Conductor Scott Yoo, the music director of the Festival Mozaic in San Luis Obispo, Calif., will lead Korea’s leading ensemble for Tchaikovsky’s Symphony No. 1 in G Minor, Op. 13, ``Winter Daydreams.’’ Tickets cost from 10,000 to 50,000 won. Call (02) 580-1300.

Martha Argerich
(Courtesy of Deutsche Grammophon)

Martha Argerich, considered a living legend of classical music, will host part of her Beppu, Japan, music festival here May 24 at Seoul Arts Center.

Joining the music director are pianist Lim Dong-hyek, a protégé of Argerich, now studying under Emanuel Ax in New York, and conductor Sung Shi-yeon, the assistant conductor of the Boston Symphony Orchestra. Both were Korea Times 2008 Next Generation Artists. Another up-and-coming artist to take the stage is trumpeter Sergei Nakariakov.

Ensemble TIMF, of the Tongyeong International Music Festival, will accompany the artists. Lim will play Ravel’s Piano Concerto in G Major, while Argerich and Nakariakov will perform Schumann’s ``Fantasiestucke,’’ Op. 73, and Shostakovich’s Piano Concerto No. 1 for Piano, Trumpet and Strings in C Minor, Op. 35, together. Tickets cost from 50,000 to 200,000 won. Call 1577-5266.

Andre Previn: `An 80th Birthday Celebration'

Andre Previn
'An 80th Birthday Celebration’
RCA Red Seal

Andre Previn fetes his 80th birthday, which fell on April 6, with a retrospective of his work spanning over half a century.

His career took off when he played the piano for a party hosted by Frank Sinatra when he was just a teen, and went on to become a widely loved composer, conductor and pianist.

This comprehensive album paints a vivid portrait of the prolific artist, featuring everything from jazz to the classical orchestra repertoire. Tracks include ``Bye Bye Blackbird,’’ ``Concerto for Guitar and Orchestra’’ with the London Symphony Orchestra and ``Vocalise’’ with cellist Yo Yo Ma.

Chin Unsuk Goes to Hell and Back for Music

Elle est hyper-cool et m'inspire enormement. She's really got "neugryeok" -- her hubbie is the handsome Finnish pianist Maris Gothoni (she's the Demi Moore of the classical musc world -- he's 18 years younger :) and their son, eight-year-old 리윤, is so adorable.

Germany-based composer Chin Unsuk talks to The Korea Times about how she strives to bring her creations to fans. The 47-year-old composer-in-residence at Seoul Philharmonic Orchestra believes that music should be ``communicative’’ not autistic. /Courtesy of Kim Moon-jung

The relativity of human existence, how it is sandwiched between heaven and hell, is central to many people’s thoughts. South Korean composer Chin Unsuk may produce unearthly sounds, but she’s only human, and the creative process inevitably involves descending into the depths of hell.

``I visit hell several times when I write a composition,’’ the 47-year-old told The Korea Times, Thursday, with one of her hearty, boisterous laughs. ``My gray hair multiplies in relation to how long it takes to write a piece,’’ she said, despite her signature long hair hanging jet black and silky.

The musician said she is first and foremost a mother who spends a great deal of time on domestic affairs. She pours the rest of her time into her art to create one to one-and-a-half pieces per year. The Seoul Philharmonic Orchestra’s composer-in-residence thus deals with high demands through co-commissions.

The orchestral piece ``Rocana,’’ which makes its Korean debut Friday as part of the ``Ars Nova’’ program at the LG Arts Center, southern Seoul, was jointly commissioned by the Seoul Philharmonic, Montreal Symphony Orchestra, Bavarian State Opera and Beijing Music Festival Arts Foundation. Meaning ``room of light'' in Sanskrit, ``Rocana'' depicts Chin's observation of the behavior of beams of light, ``their distortion, reflections, and undulations.’’

``This is my unique composition for the orchestra,’’ said Chin. Writing ``Rocana’’ was difficult to start writing since, unlike concertos, it lacks a protagonist (soloist) and she had to conceive the interaction of multiple instruments. What inspired her? ``It’s difficult to say. The human brain has a complex formation and multiple networks. Something external triggers me, becomes a seed of thought and grows into multiple branches, like a tree,’’ she said.

Chin is praised for her ``formidable ear for sonority and for mining the expressive potential of the slightest nuances of pitch and pulse’’ (The Guardian). Born in Seoul in 1961, Chin learned piano and music theory on her own at an early age and pursued composition under Kang Sukhi at Seoul National University. A scholarship took her to Hamburg in the late 1980s, where she studied with the esteemed Gyorgy Ligeti. She won the 2004 Grawemeyer Award _ the equivalent of the Nobel Prize in the music world _ among other honors, for her Violin Concerto.

For Koreans, Chin is the exotic expatriate, and without a close look into her work, one may easily assume that her music would be markedly ``German.’’ Modern classical music here is heavily associated with the avant-garde of the 1950s and ‘60s, which is defined by the late Korean-German composer Isang Yun, among others. But moving to avant-garde ``headquarters,’’ said Chin, enabled her to look past established aesthetics. ``Ironically, living in Germany for 24 years now has disillusioned my obsession and fantasy of the avant-garde,’’ she said.

While some contemporary classical music composers insist on the traditional symphony or sonata format, Chin said she feels forms have long gone out of fashion. Others insist on an idiosyncratic, recognizable language, but this composer resists categorization. ``It’d be easier if I had a definable style, but I’m not interested in establishing my name. That’s why I’m pretty much an outsider in Germany,’’ she said, laughing.

Chin reminds you of a gust of wind _ difficult to grasp and transcending boundaries yet exuding a presence that is inevitably felt.

Chin said she plays a Bach fugue whenever she has composer's block. /Courtesy of Kim Moon-jung

Her work reflects her affinity for non-European traditions as well as her background in electronic music. She may be a classical pianist who worships Chopin and plays a Bach fugue whenever she has composer’s block, but she loves pop songs from the 1970s and ‘80s and prefers working with instruments such as the Balinese gamelan. Her music is modern in language but poetic and ``multilingual'' in communicatve power.

``Music should be communicative rather than autistic,’’ said the artist, who seeks to converse with as many channels as possible. ``The word `audience’ is difficult to define. If you play a Bach suite to a gamelan player, he or she may think it sounds bizarre and foreign.’’

But she also writes something more accessible to the general public, such as ``Alice in Wonderland.’’ The opera in eight acts, with libretto by American playwright David Henry Hwang, was staged in 2007 at Munich’s Bavarian State Opera and was ranked in the ``Best of 2007'' list of the Los Angeles Times and was named ``World Premiere of the Year'' by European critics for Opernwelt magazine.

Despite such accomplishments, Chin constantly teased herself throughout the interview, saying that she is a loner and her works are almost never played in her European home. Germany, the birthplace of Beethoven and Bach, is strongly rooted in tradition and is not always open to new things, she said. This is similar to the situation in Korea.

``In Korea, there’s `music’ and then there’s `contemporary music,’’’ she said, meaning that Western classical music has become the blind norm for what music is supposed to be, while other genres are considered inferior. More important than introducing the works of contemporary composers such as those of her former teacher, Kang, however, is inspiring new attitude about art, said Chin.

``Here, culture is synonymous with entertainment, and someone more `cultured’ may associate it with Beethoven, but the concept or value of art and creativity is rather unrecognized,’’ she said, adding many subtitled variety programs in Korea give no room for individual thought, which disgusts and worries her. Creativity rarely flourishes in a place where people are prone to mindless, monotonous consumption, she suggested.

Chin regularly gives master classes as part of Seoul Philharmonic’s ``Ars Nova’’ program, and said that there are talented young students participating. But the social climate worries her. ``I’ve seen many of my talented elders (composers) perish from neglect,’’ she said.

``The degree of national obsession with standard classical music is bizarre, as is how classical music serves as a symbol of elitism and vanity,’’ she said. Her own works, such as ``Alice in Wonderland,’’ have yet to premiere because organizers want a world premiere instead of utilizing what exists.

``Ironically, if Koreans had been oblivious to Western classical music and continued with `gugak’ (traditional Korean music), they may have been more receptive to contemporary classical music,’’ said Chin, explaining that 21st-century Korea may be obsessed with Beethoven but is vastly different from 19th-century Europe.

Chin is busy these days studying gugak. She had been a longtime fan of the mouth organ ``saenghwang’’ and wrote her first concerto for it. Her love for the instrument came like a dream: One stormy night, she was at a camp when she heard someone playing the instrument outside by a cliff. ``It was like the sound of the universe,’’ she said.

``Gugak is boring but sophisticated in its abstract structure and beauty. But I hate the overuse of vibrato, so I pursue a very flat sound,’’ she said. Studying the Korean art also made her feel extremely baffled and concerned. ``It’s a mess, there’s no professionalism in the current gugak world. There’s much work to be done to preserve the folk art,’’ she said. She was able to write the Saenghwang Concerto only recently because she never met anyone who played it here, pointing back to her concern with the modern Korean manner toward art. ``It’s about attitude toward art, and ultimately, attitude toward life,’’ she said. What lies ahead in her own life? Just the same old battle with composing, she said.

Chin’s ``Rocana’’ may be her unique orchestral work but it is certainly not her first. Her first orchestra piece, ``Santika Ekatala’’ (1993), won her the first prize in a Japanese competition, but she was unhappy with it and deleted it from her composition listing and barred its performance. But this is an exception. Chin is no Bruckner, and she usually doesn’t turn back to make corrections or publish second editions. Yet this doesn’t mean she’s ever satisfied with her music _ ``As an artist, it helps to be a narcissist but I despair whenever I finish a piece. My hope of writing something better the next time keeps me going,’’ she said.

Composer Chin Unsuk, center, poses with members of the Seoul Philharmonic Orchestra. The orchestra will feature her unique orchestral piece ``Rocana’’ as part of its ``Ars Nova’’ series at LG Arts Center in southern Seoul, Friday. /Courtesy of Cho Nam-ryoung

Chin mentioned how she once marvelled at Chopin’s gravestone in Paris. ``It simply said Frederic Chopin, without any fancy engravings like `compositeur’ (composer),’’ she said. It’s not hard to imagine a world where the name Chin Unsuk could forgo such superfluous titles as ``South Korean composer’’ or ``award-winning musician.’’

Chin’s concerto, featuring the saenghwang, will make its world debut in Japan in August and then in October in the United States with the Los Angeles Philharmonic. Another work, a new cello concerto written specially for Alban Gerhardt, will premiere August 13 at BBC Proms, one of the most exciting classical music events of the season.

In addition to Chin’s ``Rocana,’’ Friday’s ``Ars Nova’’ concert features other orchestral pieces including that of her former teacher Ligeti, ``San Francisco Polyphony.’’ At 7:20 p.m., 40 minutes prior to the concert, Chin will give a lecture about the program. Tickets for the concert cost from 5,000 won to 30,000 won. Call (02) 2005-0114.

World Stars to Grace Stage in May

South Korean fans will be able to welcome international music icons Jose Carreras, Ennio Morricone, Sumi Jo and Dmitri Hvorostovsky next month.

Jose Carreras will hold a recital tour across Korea May 8-12. One of the three great tenors of the century, alongside Luciano Pavarotti and Placido Domingo, the Spanish singer will grace Kyunghee University’s anniversary celebration in Seoul May 8 and perform at Cheonma Art Center in Daegu May 10, and, May 12, at Goyang Aram Nuri Arts Center for its second anniversary concert in Seoul’s satellite city of Goyang, in Gyeonggi Province.

The crystalline bell sound of his younger days has now taken on a deeper color, and the 62-year-old wowed local fans during his 2005 recital at Seoul Arts Center. Meanwhile, crossover tenor Im Tae-kyung is known for overcoming leukemia, and Carreras, too, has inspired many by conquering the disease and supporting others through his international leukemia foundation.

He will sing popular operatic arias and folk songs, and his partner conductor and nephew, David Gimenez, will conduct the Eurasian Philharmonic Orchestra for the Seoul and Daegu concerts while for the Goyang performance he will lead the Korean Symphony Orchestra, which recently provided the accompaniment for Domingo’s recital.

Tickets cost from 80,000 won to 220,000 won for Daegu (call 053-422-4224) and Kyunghee University (call 1588-7890) and from 40,000 won to 220,000 won for Goyang Aram Nuri Art Center (call 1577-7766).

In 2007, Ennio Morricone made an unforgettable concert debut here by conducting the timeless compositions that appeared in ``Cinema Paradiso,’’ ``The Mission’’ and ``The Legend of 1900.’’ The 80-year-old veteran of over 400 film soundtracks will revisit Korea to give two concerts May 26-27 at Olympic Park.

The Italian composer has been touring the world with the Gyor Philharmonic Orchestra, and will be joined by the Yoon Hak-won Chorale for the Seoul concerts. Esteemed director Park Chan-wook was quoted as once saying, ``While there may be people who have not seen his films, there is no one, in civilized modern society, who hasn’t heard his music. He is the J.S. Bach of today.’’

Details about the program have yet to be announced. Tickets cost from 50,000 won to 160,000 won. Booking in English is available at (02) 3444-9969.

Korea’s feted soprano Sumi Jo and Russia’s foremost baritone Dmitri Hvorostovsky will perform for Seoulites May 28 and 30 at the Sejong Center for the Performing Arts, in downtown Seoul.

The concert, most appropriately titled ``Majestic,’’ brings together two of the most talented singers of the world, Jo, whom Herbert von Karajan complimented as having ``the voice from Heaven,’’ and Hvorostovsky, whose silvery voice graced all five of the world’s top opera houses.

Jo will sing the technically exigent aria ``Couplets de Mysoli’’ from the opera ``La Perle du Bresil,’’ among works, while Hvorostovsky will offer not only standard Italian operatic arias but a variation of French and Russian repertoires.

Ion Marin will conduct the Mostly Philharmonic. Tickets cost from 70,000 won to 200,000 won. Call (02) 3461-0976.

Seoul Spring Festival Looks to Go Global

The Seoul Spring Festival invites internationally renowned artists, including, from left, cellist Yang Sung-won, violinist Choi Eunsik, pianist Kim Young-ho, violinist and the festival’s artistic director Kang Dong-suk and cellist Cho Young-chang. / Courtesy of Seoul Spring Festival

Seoul will turn into a playground for music lovers next month with the opening of the 4th Seoul Spring Festival of Chamber Music (SSF) from May 5 to 18. Though in its early stages of development, the event is looking to expand horizons for a more global audience.

``Just like Busan boasts Asia’s largest film festival (PIFF), Seoul Spring Festival could become a major attraction for the city,’’ Kang Dong-suk, honored violinist and the festival’s artistic director, told reporters at a recent press conference in Seoul.

``Korea has major music events such as the Tongyeong International Music Festival, but it is mostly about contemporary classical music. SSF is unique in that it centers on chamber music and fringe (street) performances,’’ he said.

This year, child prodigies to mature virtuosos from near and far will join Seoulites for a program of Beethoven and more. Under the theme ``Beethoven Plus,’’ the festival will feature all-Beethoven quartets and more. Organizers said SSF hopes to inspire festivalgoers through music, like the late German composer overcame personal tragedies through the art.

In addition to Kang, local stars including cellists Yang Sung-won and Song Young-hoon (Young Song); pianists Kim Dae-jin, Kim Sun-wook, Kim Young-ho and Shin Soo-jung; and even ``salmulnori’’ (Korean folk percussion) artist Kim Duk-soo will perform for fans. In particular, maestro Shlomo Mintz will visit as a special guest, as well as the young American Jupiter String Quartet; the handsome, all-male Ebene Quartet; France’s dynamic Sine Nomine Quartet Lausanne; and the Igudesman & Joo duo that has been hyping up the Internet with their idiosyncratic performance style.

SSF will also showcase rising talent, including child prodigies 14-year-old violinist Anna Lee and cellist Cho Min-seok, and the KNUA (Korea National University of Arts) String Quartet. The opening concert on May 7 will stage the premiere of 26-year-old composer Kim Solbong’s ``Sundial Chronicles’’ for piano, violin, cello, clarinet and Korean folk instruments ``gayageum’’ (zither) and ``janggu’’ (drum). Amateur musicians will grace the streets of Seoul within the festival through SSF Fringe, from Friday through May 6.

The festival has been committed to not only bringing internationally feted artists to Seoul, but to make its presence known abroad, said festival director Shin Dong-yeop. Last year, its string quartet played two sell-out performances at the Beijing Summer Olympics, which were dominated by non-Korean audience members. SSF plans to expand the tour to Europe, he said.

Cellist Yang said that, as an audience member, he ``initially opposed’’ the festival because Seoul already has too many performances. ``But what is a festival? It has a theme and a well-organized menu where Seoul citizens are the stars, not the artists. I hope it will be a feast for the ears and eyes,’’ he said.

The free Family Concert will take place May 5 at Deoksu Palace (left). / Courtesy of Seoul Spring Festival

This year, the festival expanded its range of venues to include marginalized parts of Seoul, including Guro. ``The festival is mainly based at Sejong Chamber Hall, but it is too small, and our future plans include finding a permanent hall,’’ said Kang.

Ticket prices vary according to the venue: Deoksu Palace concerts are free of charge, though on a first-come, first-served basis, while those at Sejong Chamber Hall, Seoul Arts Center, Youngsan Art Hall, Guro Arts Valley Theater and Seoul Anglican Church range from 10,000 to 40,000 won. Special discounts are available. Visit http://www.seoulspring.org/ (Korean and English) or call (02) 712-4879.

Seoul Arts Center Orchestra Fest Ends Tuesday

Seoul Arts Center’s 20th Orchestra Festival comes to a close with the Busan Philharmonic Orchestra (above), Tuesday, after three weeks of live, inspired music. Grand symphonic melodies filled the hall almost every night as maestri and soloists joined 16 of the country’s top ensembles. Each concert, almost always fully packed, was broadcast live on KBS FM radio.

The annual event brought internationally feted conductors in concert, including Spanish maestro Jesus Amigo; Baldur Bronnimann, the new principal conductor of the Colombian National Symphony; and Korean-Japanese helmer Kim Hong-je.

Youthful verve and virtuosity reigned, as young, up and coming musicians graced the stage.

On the opening night April 3, the Bucheon Philharmonic, led by maestro Choi Hee-chuhn, greeted concertgoers with a roar. Having worked with the Gyeonggi Province troupe for the opera ``L’Elisir d’Amore,’’ the Germany-based conductor inspired full bursting colors, which complimented the sweet melody of soloist Stefan Jackiw in Mendelssohn’s Violin Concerto in E Minor. Two evenings later, scientist-cellist Koh Bong-ihn gave a silver-toned rendition of the Elgar Concerto while playing with his birth town’s Jeonju Symphony.

Another sell-out program was Friday’s event featuring the Suwon Philharmonic with pianist-conductor Kim Dae-jin and young pianist Lim Dong-min. While Lim told The Korea Times that he wasn’t happy with the performance, saying the harmony with the orchestra was far from perfect in the first movement of Beethoven’s Piano Concerto No. 1, he showed why he is one of the country’s most popular young artists with the crystalline tones in the singsong second movement.

The festival was also a special occasion for instruments such as the bassoon and harp to shine in the solo spot. It also gave an opportunity for new talent to take the big stage, including two young musicians selected through an open audition.

While there is no concert tonight, the Busan Philharmonic Orchestra will conclude the festival Tuesday with Alexander Anissimov at the baton. The honored Russian maestro, currently the principal conductor of the troupe, presents a program of Tchaikovsky, including ``Spanish Dance’’ from ``Swan Lake’’ and Symphony No. 4. Pianist Ian Yung-wook Yoo, who was featured in The Korea Times' 2008 Next Generation Classical Musician series, will appear as soloist for Piano Concerto No. 1. Tickets cost from 10,000 won to 30,000 won. Call (02) 580-1301.

Veteran Artists Turn New Chapter in Career

Two of South Korea’s most feted classical musicians, violinist Lee Sung-joo, 55, and cellist Chung Myung-wha, 65, will host special recitals in Seoul that mark a special moment in their careers.

Following the marathon recitals of Beethoven sonatas by pianist Paik Kun-woo and cellist Yang Sung-won in 2007, Lee will realize her own longtime dream of playing the German composer’s complete violin sonatas, Sunday, at Kumho Art Hall.

Lee paid attention to finding the right balance of presenting well-known pieces together with the lesser-known ones, ``to tell a story of Beethoven’s transforming music over time,’’ she said in a statement.

Sunday, beginning 3 p.m., Lee will play Sonatas Nos. 1-5 and No. 10, in between Nos. 3 and 4. At 7:30 p.m., the violinist will deliver Nos. 8, 6, 7 and 9, in that order. She explained the recital would be a long journey exploring the life and music world of Beethoven. ``I am vis-à-vis with the great artist Beethoven. I hope to share this wonderful yet extremely arduous experience with everyone,’’ she said.

Lee was one of the first Korean students to study at the Juilliard School of Music in New York. She launched her career in New York in 1977 as a Young Concert Artists winner and was immediately recognized as a ``first rate violinist'' by the New York Times.

She had to obtain American citizenship in order to participate in the 1978 Tchaikovsky Competition because no Korea-Russia relations existed at the time. She became the second Korean-born artist to win a prize in the conservative event after maestro Chung Myung-whun.

In 1994, she gave up her U.S. citizenship and returned to Korea. She now teaches at the Korea National University of Arts.

Tickets cost from 20,000 won to 50,000 won for each concert. A 10 percent discount is available if you purchase tickets for both concerts. Call (02) 780-5054.

40 Years With Cello

Chung Myung-wha’s international debut in 1969 with the Detroit Symphony Orchestra catapulted her to stardom. Two years later, she made her mark in Europe by winning the Geneva International Music Competition.

Her illusive career dots across the world’s most prestigious halls, alongside top tier ensembles such as the Vienna Philharmonic. She and her talented siblings, maestro pianist-conductor Myung-whun and virtuoso violinist Kyung-wha, were known as the famous Chung Trio.

To celebrate her four decades with the cello, Chung chose a program spanning three centuries: Schubert’s Sonata for Viola and Piano, D. 821 in A Minor ``Arpeggione’’ (the 1700s piece was rearranged for her instrument), Strauss’ Sonata for Cello and Piano (18th century), Op. 6 and

finally, Barber’s Sonata for Cello and Piano, Op. 6 (20th century).

Pianist Kim Dae-jin, another one of Korea’s celebrated teaching performers, will accompany Chung for the sonatas. Like Lee Sung-joo, Chung accepted a professorship at the Korea National University of Arts in 1994. The ``first generation’’ artist has since been committed to fostering young talent.

Tickets cost from 20,000 won to 50,000 won. At 7 p.m., an hour before the concert is due to begin, remaining tickets for B and C tickets will be available for sale to for half price to students. Call (02) 518-7343.

Cellist Koh Contributing to Medical Research at Harvard

``Two roads diverged in a yellow wood,’’ but instead of wondering about the road not taken, scientist-musician Koh Bong-ihn is straddling both paths _ playing the cello on the world stage while contributing to medical research at Harvard’s Stem Cell Institute.

``Music requires practice, just like experiments require repetitions to yield results. They’re also all about interpretation,’’ the 23-year-old told The Korea Times at Seoul Arts Center in a recent interview. His family and friends, including Koh’s former teacher, the feted cellist Chung Myung-wha, were seen congratulating his impassioned performance of Elgar’s Cello Concerto with the Jeonju Symphony Orchestra.

Born in Jeonju in 1985, Koh made his international debut as an artist at age 12. But unlike most prodigies, he pursued a double degree at Harvard and the New England Conservatory, studying molecular biology while participating in Yo Yo Ma’s Silk Road project among other musical engagements.

He certainly enjoys the tension of balancing art and science, but interestingly enough, it is not so much about pursuing both careers. ``It’s the thought of not pursuing both careers that drives me,’’ he said.

``A lot of times I have been tempted to choose just one, when I see my (science) peers do well and have their moments of glory… I could be a better scientist or a better musician if I don’t split my time. But it’s a personal satisfaction, and I wouldn’t be happy if I give up either one,’’ said Koh.

Promoting Peace Through Music

What inspires him is the transforming power of music and science. ``When I play music, I can feel the audience breathing with me. When I’m going home late at night after working in the lab, I pass through the hospital and feel good that I’ve contributed to something that might help patients one day,’’ he said.

Koh’s silver-toned sounds shine through in standard classical repertoires like the Elgar concerto, but he also demonstrates flair for modern pieces. Last year, the cellist awed concertgoers with Isang Yun’s Concerto for Violoncello and Orchestra. He enriches his music with his individual artistic intonation, and his melodic, idiomatic phrasings are at times unexpected, but are fresh and organic.

Some say that the critical aspect of artworks, whether it be a Miles Davis improvisation or a Picasso painting, is not so much the featured objects themselves but rather the space between objects. In Koh’s rendition of the Yun concerto, it was the silence between the notes that kept listeners on the edge of their seats.

He had learned about the late Korean-German composers’ music while spending his teens in Germany. As a Korean, he said he felt responsible to endorse Yun’s music and ideals _ ``to use music as a weapon to promote peace.’’

Last October, he became the first South Korean to play the cello concerto with a North Korean ensemble in Pyongyang. ``It was extraordinary,’’ he said about the five-day trip. He had certain expectations about the level of artistry of North Koreans, but was impressed by their prolific musicality and deep understanding of Yun’s work. The young cellist became very attached to the orchestra’s principal violinist and cellist and also had the opportunity to meet Yun’s widow, I Soo-ja.

What lies next? Koh is wrapping up his last semester at the New England Conservatory and is applying for Ph.D programs in stem cell biology. This multitalented musician may seem like the quintessential overachiever in a state of limbo. But he is challenging the notion.

``In about 20 or so years from now, I’d like to imagine myself working in a lab, where the radio is playing a recent performance of mine,’’ he said, eyes brimming behind his glasses.

Liebreich Envisions Innovation for Tonyeong

HOT German conductor Alexander Liebreich, 40, speaks to The Korea Times about his plans as the future director of the Tongyeong International Music Festival (TIMF), which is held every year in the birthplace of the late Korean-German composer Isang Yun. /Awesome unpublished Korea Times photo by Shim Hyun-chul

It seems natural that the Tongyeong International Music Festival (TIMF) will be led by Alexander Liebreich, who is from the country where Isang Yun’s music is most popular, and has built a special bond with the two Koreas over the years.

Beginning in 2011, this young German conductor will assume artistic directorship of the event, held every year in the late Korean-German composer’s South Gyeongsang Province hometown.

``My relationship with Korea evolved in a very natural way, with natural chemistry,’’ the 40-year-old told The Korea Times in a recent interview in Seoul. In 2002, the conductor had the unique opportunity to tour both sides of the 38th Parallel, and became a guest professor in Pyongyang as part of a joint project by Seoul’s Goethe Institute and the German Academic Exchange Service.

``Germany has this history of a divided country, so it’s a natural thing to have a dialogue with Korea. It’s a cultural dialogue, not a political one,’’ he said. ``It was very, very pleasant to see that young (North) Koreans were very passionate about music and very curious, and I’ve been very fortunate to have contact with the students who are so hungry for new repertoires,’’ said the conductor, who was also able to meet Yun’s widow, I Soo-ja, during his post. ``I was lucky to be part of this cultural exchange,’’ he said.

``Both (North and South) Koreans are very passionate about music; I think it’s a very general Korean way of living. I noticed that many women on weekends go singing and dancing, it’s very unusual,’’ he smiled.

Last week, the Liebreich-led Munchener Kammerorchester (Munich Chamber Orchestra, or MKO) held the South Korean audience in rapt attention as it filled the hall with the discordant harmonies of Yun. In the latter half of the concert, one was reminded of a young Claudio Abbado, as the conductor rigorously led the group for a lively rendition of Haydn’s Symphony No. 45. There was also some good Simon Rattle-esque joie de vivre onstage, as the musicians left the stage one by one in the last movement, most appropriately for a symphony dubbed ``Farewell.’’

Liebreich may have been inspired by his elders, but he lived up to his reputation as one of the most exciting conductors of his generation, a rising maestro with his own color and style. This very program opened this year’s TIMF, which came to a close last Thursday, and the fine balance of modern music and standard classics seems to represent what one can expect in the days to come for the event.

Reviving Yun’s Spirit

For TIMF, Liebreich said he envisions ``innovative programming and building a bridge between East and West.’’ ``Because Tongyeong is the birthplace of Isang Yun, some people might expect us to perform just Isang Yun music but that’s not such a good idea,’’ he said. ``It should not be a gravestone. It should be in the spirit and ideal of Isang Yun, to search for new talent and compositions from the East and West.’’

It is thus important, he said, to feature commissioned works by contemporary composers, though in a good balance with a standard repertory like the works of Mozart _ ``it’s not a contemporary music festival but a living music festival,’’ he said. ``Programs should always have a contrast.’’

His tenure would be in time for TIMF’s 10th anniversary and major projects include forming a festival orchestra. TIMF would also be a playground for students who would be able to attend master classes led by prominent artists and other educational programs. This would require searching for new venues, and Liebreich sees much potential in the scenic seaside town.

The future director also hopes to involve artists from other fields. ``I’m a big fan of Kim Ki-duk movies and there are video artists, modern dancers,’’ he said. ``Isang Yun would want to mingle with other artists, like he did with (the late Korean video artist) Paik Nam-june.’’

It is difficult not to be charmed by the conductor, whose piercing blue eyes reflect a most palpable enthusiasm for Yun’s work.

Until recently, Yun (1917-1995) was disgraced in South Korea as an alleged communist spy. He was arrested but released following protests led by Herbert von Karajan and others, and spent the rest of his exiled life as a German citizen. The composer was a prominent intellectual figure in Europe and his works were recognized in Pyongyang before Seoul.

Liebreich said he is often asked whether North Koreans understand Yun’s music better than their Southern counterparts. ``For me, it’s very hard to answer that question. The other question might be, do perhaps Germans better understand his work than Koreans? I don’t know. Isang Yun is much more popular in Germany than in Korea, and he was a big intellectual figure in the 1960s and `70s,’’ he said.

``But in the end it all comes down to good music… Music speaks for itself, and in a concert it’s less important who the composer is. You hear it and you either like or not like it,’’ he said. ``Isang Yun was a global citizen,’’ he said about the composer who studied in Japan, France and Germany. ``There’s a German saying, `imagine there is war but nobody would take part.’ Isang Yun’s music is a big expression of humanitarian ideals,’’ he said.

Kwun to Perform With Tokyo Met Symphony

This young man is like the Big Bang, though his fame has yet to catch up with his towering talents like Sarah Chang here. He could probably make any instrument sound good, but omg his 1774 Guadagnini has that buttery goodness.

Japan’s renowned Tokyo Metropolitan Symphony Orchestra, led by maestro Kazuhiro Koizumi, returns to South Korea April 16. The last time they played here was 23 years ago, and coincidentally enough, it will feature a 23-year-old Korean violinist as soloist.

>>Post-concert comment: The orchestra was awesome. Maestro Koizumi gave flight to such frills-free, yet charismatic music. The audience responded with very little coughs in between movements and gave a standing ovation.

The concert at the Sejong Center for the Performing Arts presents a program of Tchaikovsky, including Violin Concerto in D Major, Op. 35 with Kwun Hyuk-joo, a Moscow Tchaikovsky Conservatory graduate praised for his ``quintessentially Russian’’ sound. Not surprisingly, it is the violin concerto he performed most frequentlyViolinist Kwun Hyuk-joo will appear as soloist in the Tokyo Metropolitan Symphony Orchestra's concert April 16 at the Sejong Center for the Performing Arts, downtown Seoul. /Courtesy of Kumho Asiana Cultural Foundation onstage.

``But it’s different each time I play it and depends on the orchestra and conductor,’’ Kwun told The Korea Times, Tuesday, in Seoul, expressing enthusiasm about playing with a major Japanese orchestra for the first time.

The violin concerto seems to have a special place in his heart. ``When you watch a movie, sometimes you feel an emotional release in your heart that’s liberating, refreshing and beautiful. Russians are very free-spirited, relaxed and never rushed. I think among Russian violin concertos, and especially among Russian Romantic works, the Tchaikovsky piece expresses this characteristic of Russians well,’’ he said.

The virtuoso _ and one does not take the world lightly _ is regarded as ``a rising artist that will continue the Russian violin lineage carried on by Jascha Heifetz, David Oistrakh, Leonid Kogan, Gidon Kramer and Vadim Repin.’’ Kwun was only 18 when he won the 2002 Yampolsky competition, receiving high praise from the elderly Russian maestro Tikhon Khrennikov.

``I feel extremely thankful,’’ he said about such compliments. ``But I myself am never satisfied with my playing. My teacher always told me, `the moment you’re satisfied, you’re doomed.’’’

Out of his tuxedo, Kwun looks nothing like the ``typical’’ classical musician, especially with a piercing in his right eyebrow. Contrary to his funky style and frank speech, however, he was extremely soft-spoken. While there was nothing wrong with his Korean, he spoke slowly, choosing his words carefully. Having moved to the former Soviet State at age 10, he feels more comfortable with Russian. In addition to the language, Russian musicality seems to run in his veins.

He demonstrates lyricism, immaculate technique and powerful gusto _ characteristics that the aforementioned Russian master violinists share. And yet, it would be unfair to limit Kwun’s teeming musicality to the Russian repertoire. In recent years, he has showcased contemporary works with the Kumho Asiana Soloists and gave an exquisite rendition last February of Mozart’s Concerto No. 4 with the Seoul Philharmonic.

His repertoire covers all the standard violin pieces, from Paganini to Shostakovich, and keeps expanding as he explores contemporary works. Kwun has also won major international competitions, from the Queen Elisabeth to the Paganini, and has toured extensively in Europe, playing an exquisite 1774 Guadagnini. A young musician couldn’t ask for more.

The road leading to such accomplishments, however, was far from easy. His mother accompanied him to Russia but he was on his own to deal with various discriminations one is bound to face as a foreigner. ``When I look back to it now, I can smile. I used to be quite rebellious about it, but now I feel much more at ease,’’ he said.

Kwun added that he was fortunate to have great teachers like Kim Nam-yun and Eduard Grach. He has resumed his studies in Germany, and works toward his lifelong goal _ to perfect what he already knows, and to become his own teacher one day.

Also featured in the program are Tchaikovsky’s Polonaise from ``Eugene Onegin’’ and Symphony No. 5. Tickets cost from 25,000 won to 100,000 won. Call (02) 6303-7700.