SAC Hosts Orchestra Festival Throughout April

Classical music aficionados may be disappointed by the cancellation of tours by many foreign orchestras, but performances by domestic troupes will be in full swing throughout April with the Seoul Arts Center’s annual Orchestra Festival featuring 17 top Korean ensembles.

Violinist Stefan Jackiw
/Courtesy of Seoul Arts Center

The 2009 program will take place April 3-21, beginning with the Bucheon Philharmonic Orchestra. The opening night will feature violinist Stefan Jackiw, a noted Korean-American artist who is known here as a member of the popular chamber group Ditto and as the grandson of the famed writer Pi Cheon-deuk. The 17-day relay concert will continue with performances by a different orchestra each day.

This year marks the 20th anniversary of the event, which began in 1989 with the opening of the center’s Concert Hall. It has developed into a major music festival that gathers top national artists in one place.

Expectations for the event are high, as top musicians will appear as soloists for concertos ranging from Brahms to Beethoven and Berlioz. Future leaders of classical music will participate, including up-and-coming pianist Kim Tae-hyung (Daejeon Philharmonic, April 4); cellist Koh Bong-ihn (Jeonju Philharmonic, April 5), who is balancing a medical career at Harvard with playing alongside artists like Yo Yo Ma; and Lim Dong-min, who is a star pianist here along with his brother Dong-hyek (Suwon Philharmonic, April 17).

Conductor Yeo Ja-kyung
/Courtesy of Seoul Arts Center

Also notable is that a prominent female conductor, Yeo Ja-kyung, has been invited to lead the KBS Symphony Orchestra, April 16, which is a first for the event. Other maestros such as Kim Hong-je (Ulsan Philharmonic, April 8), Jesus Amigo (Gyeonggi Philharmoinc, April 11) and Baldur Bronnimann (Seoul Philharmonic, April 13), will take the baton. Child-prodigy-turned-maestro pianist Ian Yung-wook Yoo will close the festival with the Busan Philharmonic, led by Alexander Anissimov, April 21.

For the first decade, the event helped to promote the growth of classical music in Korea, and the last decade was devoted to enhancing the performance level of individual musicians. In doing so, new talents across the country were discovered and these musicians matured and developed their own musical color over the years.

As such, two newcomers selected through the Guest Players Audition ― violinist Kim Hyun-gi and bassoonist Lee Min-ho ― will appear with the Seoul Philharmonic, April 13, and Changwon Philharmonic, April 14, respectively.

The performances will take place at the Concert Hall of the Seoul Arts Center. Tickets cost from 10,000 won to 30,000 won. Discounts are available for members of the Seoul Arts Center as well as for students and group reservations. For more information on the event, call (02) 580-1300 or visit www.sac.or.kr/eng (English).

Rising 'Maestra' Sung Returns

A generation after maestri Marin Alsop and Simone Young took the baton to the glass ceiling there is still no consensus on how to properly address a female master conductor. While ``maestra'' may sound like a logical female form of maestro, it really denotes schoolteacher in Italian.

This issue may become more relevant in the years to come, with promising young assistant conductors like the Boston Symphony Orchestra's Sung Shi-yeon and the New York Philharmonic's Xian Zhang.

This points to a more general question: Does gender still matter?

``I do not think of my gender when I conduct, because it is my idea that colors my music,'' Sung told The Korea Times in a telephone interview. The statement seemed more like pensive introspection than an aggressive objection. The 33-year-old, tall, charismatic and almost fiercely energetic onstage, had a delicate, feminine voice bouncing with laughter throughout the conversation.

After winning first prize at the 2006 International Conductors' Competition for Sir Georg Solti, she was invited by James Levine to join the American ensemble. Her success was followed by another top award at the Bamberg Gustav Mahler Conducting Competition last year. '

``I've just started my career, so I haven't been everywhere'' ― she said humbly but not without confidence ― ``but I did feel each country has a different mood. I just got back from Sweden, and my gender didn't seem to matter at all. But I do feel a bit pressured when I perform in musically conservative countries like Germany and Austria, where the legacies of great conductors live on.''

The Busan native made her conducting debut in her homeland by opening the 2007 season for the Seoul Philharmonic. She will return for her second concert Sept. 19. ``In Korea, where age and gender matter, both the audience and musicians do seem to be amazed,'' said Sung. ``But I think that odd factor will disappear, just like how discrimination against female instrumentalists have. Today, women make up half, and in many cases more than half, of orchestras,'' she said.

Born in 1975, Sung started playing the piano at age four. She was an accomplished young player who won several competitions. After making her solo concert debut when she was 13, she studied abroad in Germany. Local reports said Sung turned to conducting after an injury terminated her piano career, but she said this was a misunderstanding.

``It is true I got injured. But I wanted to explore other areas of music, and conducting happened to be one of them,'' she said. She undertook conductor and orchestral conducting studies with Prof. Rolf Reuter at the Hanns Eisler School of Music in Berlin. Her teacher, she said, was essential for her growth as a musician and individual. When asked if she ever misses the piano, she said she plays from time to time. She enjoys the immediacy and intimacy of piano playing, but exploring the vast ocean of musical literature as a conductor consumes her artistry in the meantime.

What is the beauty of conducting? ``A group of musicians can play any given piece. Of course a conductor can help them harmonize and bring about a sense of unity. But I love how a single person's personality and interpretation ― I suppose what you could call charisma ― can change the sound of an orchestra,'' she said. While continuing to split her time between Boston and Germany, Sung wishes to challenge herself with the opera genre. She already has some experience under her belt, having led ``The Magic Flute'' in the Mozart in Berlin Festival and other projects with German theaters.

Sung returns to conduct the Seoul Philharmonic for the second of its serial ``Classical Concerto'' series, Sept. 19 at Seoul Arts Center. Versatile pianist Dejan Lazic, known for his beautiful phrasing and dynamism, will join the ensemble for Beethoven's Piano Concerto No. 4 in G major, Op. 58. ``I believe No. 4 is the most beautiful of Beethoven's piano concertos,'' she said.

Also included in the program are Sibelius's ``Lemminkainen's Homeward Journey'' and Mussorgsky's ``Pictures at an Exhibition.'' The conductor said she prepared for the pieces by studying the paintings that accompany the music. For inquiries about the concert, call (02) 3700-6300.

The concert is expected to be a picturesque musical feast. But it is hoped that the visual stimulation, if any, would be within the realms of the imagination inspired by the vivid music, rather than the unfamiliar presence of a woman gracing center stage with a baton.