Crippled Symmetries - Busan Composers & Contemporary Music

00:00:01: Welcome to Klankat, K&M's podcast on contemporary music artistic research and international encounters.

00:00:08: In this episode we focus on the invited guests from South Korea at The Crippled Symmetries Festival – the composers Oyn Son Yu, Bum Ki Kim & Seil Oh.

00:00:20: All three are based in Busan, South Korea's second largest city.

00:00:25: My name is Thomas Bruens And I am the Artistic Director of the ensemble KNM.

00:00:30: It is my pleasure to introduce our two hosts for this conversation, Sara Lucy and Peter Dreity.

00:00:37: Both are master students of music sound performance at Free University of Berlin.

00:00:44: Sara is a graduate of theater studies in German from Trinity College Dublin and vocal studies form the High School for Music and Theater Rostock.

00:00:53: She's passionate dramaturg music theater director and performer, working to co-create inclusive decolonial spaces of performance in reception in Ireland and Germany.

00:01:06: Peter is a cellist composer and critic from Seattle having written essays on critics for publications like Van The Public Domain Review A Closer Listen And Clef Notes.

00:01:18: His recent writing In German For Music Text or Online MFFM have focused on concert critic.

00:01:27: Enjoy the conversation!

00:01:34: Hello, thank you for being here with us.

00:01:42: Peter and I are lucky to be talking to our three South Korean composers.

00:01:48: would you like to introduce yourselves?

00:01:52: I'm going

00:01:54: to go first.

00:01:55: Hi, I am Eun Sun Yoo and a composer from South Korea.

00:02:02: Actually...I started composing when i was in high school And then i studied

00:02:11: for many years

00:02:12: in the US.

00:02:13: Then i came back to korea about four year ago With these composers & some other fellows.

00:02:21: I am doing composition in Busan area

00:02:25: and

00:02:28: i feel really excited to be invited to this festival.

00:02:32: We're excited to have you!

00:02:35: In short time, actually I grew up in Korea but after my bachelor's degree I went to the United States to study.

00:02:44: then I got a master's and doctoral at Indiana University.

00:02:49: Bloomington came back to Korea again, then now I'm teaching and also writing music.

00:03:00: This is my life especially in contemporary classical music but i love all kinds of music like hip-hop, traditional music, club maté... every kind of music Because when I was young, I composed and loved only classical music.

00:03:22: But these days are really interesting kind of all different music like today.

00:03:28: so... And to your right?

00:03:31: My name is Se Lo.

00:03:34: I'm a composer from South

00:03:37: Korea

00:03:38: living in Kimhae the near and I'm working around the world with my colleagues.

00:03:57: And

00:03:59: that's good to hear!

00:04:05: You were acting really well, if it is not the case... You're all connected to Busan?

00:04:14: Yes.

00:04:16: Tell us about Busan, what is going on in Busan.

00:04:20: musically.

00:04:23: Well I was born in Busan

00:04:25: and actually

00:04:26: was raised in Busan for maybe seven or eight years when i was young.

00:04:36: Maybe I spent my life there during my childhood For like twenty years And then after that I studied abroad in the US, right?

00:04:55: and Then i came back to Busan

00:04:57: Really recently really recently yeah

00:05:00: four years ago.

00:05:01: Yeah So you must have a very different perspective on it now than you did growing up

00:05:06: exactly so After ten years of my life In another country.

00:05:14: But

00:05:16: I have come to see the city in different perspectives.

00:05:21: There were a lot of interesting perspectives... ...in this city.

00:05:27: First of all, it's quite.... It is actually the second largest city in Korea.

00:05:34: So the capital city is Seoul But interestingly its very far away from the capital City but still the second-largest

00:05:43: city

00:05:45: And it's close to the sea.

00:05:47: It is actually a city of harbour I think because that in Korea, its considered as quite special area.

00:05:58: People look... people visit Busan for vacation when they want

00:06:09: get out

00:06:10: their daily life.

00:06:12: I think it's actually dynamic city with a lot of energy and It is quite special With

00:06:22: local

00:06:24: things.

00:06:25: A lot unique thing are going on.

00:06:28: Do you feel there difference culturally between the energy maybe in Busan?

00:06:34: Yes,

00:06:35: i think so because

00:06:38: Many

00:06:39: portions of the different things are

00:06:41: coming from the location.

00:06:46: It's a city of sea, right?

00:06:49: But it is quite different than other cities that are close to the sea.

00:06:56: so I think its own unique thing and actually the slogan for this city has been dynamic Busan!

00:07:08: which I think exactly shows, you know the identity of Busan.

00:07:14: So i really love it's actually my hometown and also where I live right now And a lot of interesting things are going on including the Busan.

00:07:27: Yeah!

00:07:27: Exactly because I asked at the rehearsal the other day had you worked with each other before?

00:07:33: You could call yourselves a collective in kind of way.

00:07:38: I mean, you are the Busan International Contemporary Music Festival.

00:07:42: Yeah So how did that get started?

00:07:46: It was kinda long history but we only started like five years ago.

00:07:53: it's not really a long history festival But because In Korea We have some problems Because all kinds artistic activity happens in Seoul, the capital city of Korea.

00:08:13: So when I see Busan is kind a second-largest city but we didn't have any contemporary music festival there.

00:08:21: so we decided to work together and wanted just bring contemporary music scenes into the Busan area because I grew up in Seoul I actually studied everything in Seoul and then because of my job, i just moved into the Busan area.

00:08:40: And then Busan is kind-of have... Busan has everything!

00:08:44: They've got everything for artists.

00:08:47: they have mountains rivers seas all kinds of materials are there.

00:08:53: so..i think that's a perfect city for an artist Because we had lots of resources We can compose and express.

00:09:02: So we started five years ago our contemporary music scene, actually... ...we are interested in very local things because it's a mega-city with six million people living in Busan.

00:09:20: but we say this is the local place.

00:09:21: anyway The localism was our central idea our concept because that's why we want to just invite people from some small city and like, um... We focus on females' life.

00:09:41: And then we wanna discover something people doesn't know.

00:09:47: so it's a- Because most of the mega festivals they just wanna invite famous artists.

00:09:55: They wanna do something like a fame of things all the time, but we focus on very local things and minor things.

00:10:04: And then I think it's... We will do that.

00:10:08: so yeah!

00:10:11: That is what Busan International Bridge Festival is right now.

00:10:15: Yeah

00:10:15: It had a tricky start because The first year i think was twenty-twenty one?

00:10:21: Yes something like this

00:10:22: Which was an interesting moment globally,

00:10:26: to

00:10:27: be entering a concert sphere.

00:10:32: How was that first year?

00:10:33: Yes I remember the first concert because you know the city and government they not allowed any audience to the concert.

00:10:44: Yeah, we were in.

00:10:45: it was at the end stage maybe of COVID or yeah.

00:10:47: so I brought my computer and camera and everything And i did a real time like um Everything was messed up because We had no audience.

00:10:57: Sometimes in contemporary music...we have no audiences anyway But we really haven't nobody for the audience In our first concert.

00:11:10: It keeps you imaginative.

00:11:12: You've got to keep on changing the format, so we're kind of mixed media from... ...from the very beginning.

00:11:17: and how did you connect?

00:11:20: How do you find each other?

00:11:28: Actually he was my teacher when I was living in same area.

00:11:39: Actually, it's been like about more than twenty years.

00:11:45: Oh!

00:11:46: More then twenty?

00:11:47: Not twenty years maybe fifteen years I don't know.

00:11:51: So when i was studying in the US every summer... ...I visited Korea.

00:12:01: We kind of connected with each other Like how is music going on?

00:12:07: and Korea and Busan, Kimhae.

00:12:12: So we kind of had a regular contact

00:12:17: actually for about ten years.

00:12:21: And then About four or five years ago right before I returned to Korea... ...I met him in concert.

00:12:32: It was another contemporary music festival.

00:12:36: They were colleagues.

00:12:38: Instead

00:12:39: of the same university, it's all national universities so they are already working together.

00:12:45: Yeah I kind was curious about that.

00:12:48: You've mentioned a little bit how important this time in the US is for you and isn't actually far behind you?

00:12:58: What was your experience like moving away from home?

00:13:01: How do you feel influenced by that Musically, do you feel connected to the music scene in the US?

00:13:07: Do you think that has really influenced your composition style or are still more rooted in Korea.

00:13:14: Actually

00:13:14: I did my undergraduate

00:13:16: in

00:13:17: Illinois and then my graduate in Florida so... That was also

00:13:22: a lot of

00:13:23: different experience

00:13:26: for

00:13:27: me.

00:13:29: So when I was studying in Illinois, so for my undergraduate you know it's...I was very young and well i'm still the composer at an early stage but that time as a student.

00:13:52: And I really didn't know what my compositional style was.

00:13:55: It's just learning many things, and then actually when i was in

00:14:03: Korea during

00:14:05: my childhood... ...I really did not think much about traditional Korean traditional music because it is very common for us really think of it as a unique thing for me.

00:14:23: But when I was in the

00:14:24: U.S.,

00:14:24: and one of my professors told me that, uh... One of my compositions that includes some Korean traditional aspect is really strong piece And then you have to go through that maybe research more and then I realized that it could be a special thing in another country.

00:14:46: And, you know... although I was living a very good life

00:15:14: there,

00:15:15: i always felt myself as an alien in this country.

00:15:21: but

00:15:22: the interesting thing is that people

00:15:25: there

00:15:26: loved my composition and loved my culture.

00:15:32: My cultural heritage.

00:15:35: so uh...I think when I started to put some

00:15:40: of my

00:15:41: cultural heritage in my composition.

00:15:45: And then about...I think it was eight years ago, so while doing my graduate, I participated at a festival where they invited Korean traditional musicians.

00:16:02: It's very special cultural concert and opportunity to work with traditional musicians, interestingly in the

00:16:10: U.S.,

00:16:11: because I've never met them in Korea before but i actually first met them In the US and we worked together.

00:16:19: And that's the first moment That I put some traditional instruments in my composition.

00:16:27: It was a very interesting good experience

00:16:32: for

00:16:32: me.

00:16:34: Yeah kind of the...

00:16:38: I don't know, process?

00:16:39: Yeah.

00:16:40: Sometimes you have to be far away to realize where he came from.

00:16:45: and what about

00:16:46: You too, did you?

00:16:47: At this point I have questions to you guys because... ...I really want know about K-pop culture like a K-POP invasion thing.

00:16:56: Because i live in Korea and.. ..i don't understand why people love K-Pop!

00:17:02: This

00:17:05: is tough cause.

00:17:06: im afraid your asking the wrong person.

00:17:08: Maybe they are wrong people.

00:17:15: For example, you maybe most of people knows BTS

00:17:19: right?

00:17:19: Yes.

00:17:20: And then if I say I'm BTS and I am Jungkook You will have like a one billion.

00:17:29: or just it's just you know me right?

00:17:31: My

00:17:31: sister

00:17:33: wants your autographed

00:17:35: right now.

00:17:35: Mine too!

00:17:35: But when I studied in the United States like twenty years ago, something like that.

00:17:40: Nobody knows about Korea at all and they always ask me are you Chinese?

00:17:45: Are you Chinese or Japanese?

00:17:47: And nobody is just

00:17:49: in Korea

00:17:51: of course because Korea's kind a very small country sometimes compared to other countries like

00:17:58: Japan

00:17:59: China, China has a one billion people there.

00:18:02: So no wonder why they don't know about Korea at all.

00:18:05: But I think ten years ago something like that after like a Psy Like Gangnam style Right?

00:18:13: Everybody is saying about K-pop.

00:18:16: and then I was surprised because Why do you love K-Pop?

00:18:21: even though i dont understand I don't like P.Test, can i say?

00:18:29: Can you be careful?

00:18:30: I love P.tests okay!

00:18:31: We could edit it and put it in production but its

00:18:32: not that much.

00:18:35: But It was a

00:18:36: different time.

00:18:38: definitely Did You have similar experience ?

00:18:40: I mean ,it's just a different Time to...I suppose You were in the States In the last ten or fifteen years.

00:18:46: You know

00:18:47: Yes, very long time ago I stayed in United States But at the time, I didn't have much idea about using Korean traditional stuff.

00:19:05: It's quite...

00:19:07: Actually for

00:19:07: me after returning

00:19:10: to Korea

00:19:13: actually when I was in abroad the opportunities to write, they had their first

00:19:27: piece

00:19:28: for a current traditional instrument.

00:19:34: Only

00:19:36: I worked on western stuff

00:19:38: in

00:19:38: different Western style

00:19:41: and

00:19:42: contemporary

00:19:42: music... Is that what was encouraged when you were?

00:19:45: Yeah especially

00:19:47: I never...

00:19:49: worked on a special for Korean traditional

00:19:52: instruments.

00:19:58: After returning to Korea, I realized as of Korea

00:20:09: and

00:20:14: could get the opportunity.

00:20:21: Then I

00:20:22: thought,

00:20:25: and it's very interesting the work.

00:20:28: It was a

00:20:28: really interesting to combine Korean traditional stuff with Western style because I am Korean but I studied western music as I grow up for... It's my identity.

00:20:55: I

00:20:56: have

00:20:57: a Korean something.

00:20:58: Yeah,

00:21:01: absolutely.

00:21:02: That stuff as well... We're all...

00:21:08: Today is peace and

00:21:10: it has

00:21:11: the two kinds of elements in

00:21:14: one piece

00:21:15: that you are

00:21:15: incorporating.

00:21:17: When I mentioned about K-pop music, because...I have some reason.

00:21:21: Because you know when i studied in the United States.. ..I tried to express my Korean culture.

00:21:28: Yeah

00:21:29: To the western people and I had to translate And I try to explain everything of korean things like that.

00:21:36: But after K-POP culture , I realized That People take K culture as a K culture.

00:21:43: They don't need to like Westernized.

00:21:46: Some people think that we have to westernize our culture because Western people cannot understand K-Culture.

00:21:53: So, they're using the Korean cultures and then we westernized some materials... But after like a K-POP culture I realized that We don't need to make it westernized.

00:22:10: Yeah Even I speak in Korean.

00:22:13: I don't need any English title, and I didn't need an English kind of explanation

00:22:19: even

00:22:20: if i speak in korean.

00:22:21: they love because with BTS They just sing in korea.

00:22:26: yeah...I was very surprised that.

00:22:29: So so..they Don't need to translate their lyrics into english but because Globally people follow the korean text In korean.

00:22:42: That's what I want to talk because people think that if we show traditional music, We need a western line and piano.

00:22:50: But how about just showing our culture with no translation?

00:22:57: So today you see all kinds of decorations so i just brought it from Korea.

00:23:03: Okay!

00:23:06: Korean what Korean is now?

00:23:08: I don't need to like

00:23:09: a right

00:23:10: in Germany.

00:23:10: I don' t need to explain everything.

00:23:12: But okay, I'll just show our culture and they will take it that this very important these days because i think three years ago one of our author got Nobel literature prize but he she doesn't speak English at all She wrote everything korean but somebody Wanted to translate.

00:23:38: then she got a Nobel Prize.

00:23:41: Then I realized that okay, I will do my job in Korea and I don't need to Do something in English or I didn't need.

00:23:47: it was

00:23:48: try

00:23:48: to westernize.

00:23:50: I would just Show who I am?

00:23:52: And they were understand there.

00:23:55: So this is why mention about K-pop kind of culture these days.

00:24:00: We we don't have to try too.

00:24:02: for example you ever like kimchi right?

00:24:05: But when I studied in the United States, it's a Korean style carpet.

00:24:15: I will try to westernize that kimchi.

00:24:17: I didn't say any Kimchi.

00:24:19: The Korean-style cabbage.

00:24:27: So if I said kimchi people don't know so... You're

00:24:30: learning slowly?

00:24:31: It's a slow process.

00:24:34: For this day, I say it's kimchi and this is what Gangnam style... Nobody knows about Gangnam because even sometimes... But we said only Gangnam.

00:24:45: We don't need to translate each of Berlin or New York in the United States.

00:24:51: No!

00:24:51: We didn't explain all that.

00:24:52: We just eat each Gangnam like that.

00:24:56: So these days What are doing locally not to be translated.

00:25:04: I mean, we show our things in our own language and people will understand.

00:25:11: but you'll understand what I'm talking

00:25:13: about right?

00:25:13: Yeah definitely!

00:25:14: It was really struck by the decorations that you had going on during rehearsal today.

00:25:19: they were really beautiful And um...I think it might a good entry point into the kind of shamanic aspect That sort of theme is running through all your works for tonight.

00:25:30: Yeah, absolutely.

00:25:32: Did you feel that the shamanic tradition was sort of an emblem or a good symbol of showing the local?

00:25:45: I mean it's like there are vast local traditions and things that you could take from.

00:25:55: but what about this ritual?

00:25:59: Gude is actually a ritual

00:26:03: that's

00:26:04: prevalent

00:26:06: in all areas

00:26:09: of Korea.

00:26:09: I mean, it isn't

00:26:11: only specific

00:26:14: to Busan area but the interesting thing here is that gude is very different from areas-to-areas and then in Busan especially the southern part Korea has its own unique features which is one of them, it's called namean persingut Which

00:26:40: he

00:26:41: used in his piece.

00:26:44: Of course each piece has different inspirations but we were trying to get inspirations from the good from Busan area or the southern part Korea, so that it can have some.

00:27:01: you know different things from other areas.

00:27:08: Well of course we are not a specialist in

00:27:10: good

00:27:11: but at least we were researching the special features of Southern part-of-good and the music

00:27:21: dance

00:27:23: everything like artistic features And that could be another localism

00:27:31: we are seeking for, I guess.

00:27:34: What kind of sonic associations do you make?

00:27:39: What do you think of sonically when you think about these Gutt or other shamanic rituals?

00:27:46: what were the first things that came to mind?

00:27:49: either Sonically musically Or maybe it was a visual?

00:27:58: Like she said, we studied.

00:28:00: I grew up with the only Western music you know?

00:28:03: Not every

00:28:03: Korean

00:28:04: knows Korean traditional music... ...I just grew up in western music.. ..I studied like Bach Mozart and

00:28:11: then

00:28:12: I started ballerina and Schoenberg.

00:28:14: You know i studied only about kind of western music until like thirties And even I got a master's and doctors based on the western music.

00:28:26: So, good is not familiar with me at all.

00:28:33: It's kind of very strange things to us sounds and everything but I think it's in our blood!

00:28:42: Before coming here i tried study about like a good and shamanism in Korea And...I feel kinda..how can say?

00:28:55: That's in my blood, because it is very natural to me.

00:28:58: And then the sound is very familiar Because I grew up with that kind of sound unconsciously.

00:29:05: Some people play and just go and come It's in... How can you say?

00:29:13: So we didn't try do something We did not tried make something different.

00:29:20: But when i composed something And then it became like a good music I think.

00:29:26: G-U-T, good music right?

00:29:29: I sometimes it's a G-O-O T or G- U-T.

00:29:31: No

00:29:32: well interestingly so we are obviously in Germany.

00:29:35: So we have gut

00:29:36: and

00:29:36: that is all gut And in English It means

00:29:39: your gut You know?

00:29:41: A gut exactly.

00:29:42: But also...I mean like a gut feeling Is something just innate.

00:29:47: you know That is natural to you Which is also In some ways what..you know What you're saying.

00:29:52: Like twenty years ago i said Korean Shamanism say like that.

00:29:56: but these days I said it's a good because i don't need to explain about,i dont' need translate into maybe western world and this is my composition.

00:30:09: Because...I just use the korean music itself without any translation?

00:30:16: And combined with how can I say sometimes you know when I studied in twenties people Maybe you can use the Korean style, and I mean how could say it?

00:30:30: Based on Western music.

00:30:33: So my western music was the primary things And then i put some styles like a baritone or something Like that.

00:30:40: But this is what I think about.

00:30:43: It's different.

00:30:44: I mean... It's very same.

00:30:47: Korea Music and Western Music are the same idea to me.

00:30:52: No hierarchy This time just I want to prove that.

00:31:00: maybe some people like a wanna try to like Like Western the treasure music to western but this time.

00:31:10: I just use real like Korean singing and percussion plus Western sound.

00:31:41: I can assure the audience that it

00:31:42: sounds

00:31:44: much more beautiful than my... My imagined kimchi plus cheese, but maybe that is also a delicious... Maybe that's good too.

00:31:53: Seil do you have similar sense of your relationship to these Germanic sounds?

00:32:01: and then with regards the European instruments as well?

00:32:05: Is it a similar playing field or one more natural than other?

00:32:09: For

00:32:14: me It could be a little different from Bungie, as I told you.

00:32:28: When I started in the

00:32:32: U.S.,

00:32:35: even though I used only Western instruments when I composed... I felt,

00:32:48: I

00:32:48: had some kind of Korean DNA.

00:32:53: But

00:32:53: unfortunately... ...I have not been educated in the Korean traditional music.

00:33:06: It's

00:33:06: very unfortunate at that time.

00:33:07: So only then was I educated for Western.

00:33:15: I think that was a problem.

00:33:18: But in Ireland it's very, very similar.

00:33:21: Traditional Irish music is huge and thankfully there are so many people who are embedded in it.

00:33:27: but i have a similar relationship to it... ...I didn't grow up playing traditional Irish musics.. ..but feel like its my DNA.

00:33:34: So as attached

00:33:37: with it It feels quite separate the Western Musician and Thracian Musicians.

00:33:42: We are not like a catalog, you

00:33:47: know?

00:33:48: So I find it really interesting... You mentioned that you didn't want to translate Korean music for our western audience In your piece from what i understand is your own poetry And at end there's this turn into German.

00:34:08: You know, it seems like the piece is very specifically composed for this festival and for... ...this German context.

00:34:14: Can you say a little bit more about how you tried to bring those two contexts together?

00:34:19: What are your thinking of when you thought of the German context?

00:34:22: Oh

00:34:22: yes!

00:34:23: Okay because I want to show what Namiya and Pyo Shin-ku did with the audience in Germany.

00:34:34: And then i thought that's all i can do.

00:34:38: Okay, I will just do the same process ritual process of Namiyan Bershingu in my piece.

00:34:45: So if you listen to music and people will understand that The whole process is very similar to the Namiya Bershengu process.

00:34:57: so...I Just want all the people just feel kind of what Namiyang Bersheengu means.

00:35:08: I even made the text by myself and then based on Korean Namyang Bershingu Text, it's a very similar kind of process.

00:35:20: So because here people...I think that i'm trying to explain you know?

00:35:27: Even now!

00:35:28: I try to explain something.

00:35:30: I am Korean.

00:35:31: maybe German People don't know about this or how we explain how to do but yeah.

00:35:37: so This time it's kind of explanation anyway.

00:35:43: Because nobody, almost no body knows about Namyang Pyeol Shin Good here.

00:35:49: so I try to... We need some help?

00:35:52: Even Korean.

00:35:52: we don't know about Namiang Pyeon Shin Good sometimes.

00:35:55: So i tried do the same process of that ritual process in my piece because when I heard the Namiyang Pyeon Sin Good first-time I was so moved.

00:36:10: That kind of process touched my heart, because everybody died.

00:36:23: What are you gonna do when your close friends or family passed away?

00:36:28: Somebody needs to say that somebody did something for me not the one

00:36:34: who

00:36:34: passed away.

00:36:37: This is kind of very spiritual things to me.

00:36:40: And I want show what Korean people do if somebody passed away in Korea, because maybe it's only and they have their own way too like one process of that grief right?

00:36:58: Also we had our own traditional like a process

00:37:02: grieving

00:37:08: specifically, I was really struck by

00:37:10: how

00:37:11: percussion is such an important part of this tradition it seems.

00:37:14: And then you've also all used the traditional Korean voice type and this percussion together.

00:37:21: It's a very intense experience that I totally agree

00:37:25: with

00:37:27: both of your pieces Yoon Sun and Boon Ki.

00:37:31: I was also really struck by your piece's style and you're use of silence in the piece.

00:37:39: Um, i wondered if that is something that you have worked with before?

00:37:44: Or If That Is Something For This Piece.

00:37:47: You Felt It Fit Really Well Have used Silence In Your Pieces Very

00:37:51: Much

00:37:51: Before.

00:37:52: That's my interest, the musical interests.

00:38:01: They're using silence... The based on.

00:38:02: how can I say that?

00:38:04: As

00:38:04: you know there

00:38:06: are... I'm interested in louds.

00:38:09: Louds is a Chinese philosopher.

00:38:13: A louds or a drums.

00:38:20: Drums.

00:38:21: As

00:38:25: I'm getting older and older, I am now getting more interested in the Oriental something.

00:38:36: The Oriental ideas... How can i say?

00:38:46: Make something!

00:38:48: Make something based on an oriental Emotion, thinking.

00:38:56: So

00:38:57: the silence

00:38:58: is a very important.

00:39:00: I thought so.

00:39:02: there was my rest series at this piece.

00:39:05: it's seventh.

00:39:10: And combined with shamanic ideas.

00:39:15: But

00:39:18: shamanics are good in good You know, I think it's

00:39:24: very...I

00:39:25: thought that the silence could be a very important idea for peace.

00:39:33: It was kind of like a spiritual area and waiting someone.

00:39:50: worked

00:39:51: on the piece.

00:39:51: It's a personal story, I think... A personal story?

00:39:58: Yeah yeah it is an actual story that my

00:40:13: beloved

00:40:14: friend, the most beloved friend in the past away

00:40:21: last

00:40:21: year.

00:40:25: So

00:40:27: passing by the day, probably only

00:40:30: February.

00:40:31: Only February.

00:40:33: I was working on a piece thinking

00:40:35: about him and it was really interesting to me how you also use the Mozart Requiem as part of your pieces.

00:40:49: well

00:40:51: The commission,

00:40:56: I was

00:40:58: commissioned

00:41:00: for

00:41:01: the kind

00:41:01: of the rest of Langsam or with Korean traditional voice.

00:41:06: Sorry and percussion.

00:41:15: Universal and same music!

00:41:17: Very

00:41:17: universal.

00:41:19: Especially it's kinda...I felt that at the same point.

00:41:25: how can

00:41:25: you feel?

00:41:28: So, and then the musical material is kind of

00:41:32: there

00:41:34: in there.

00:41:37: In seeking wood it's

00:41:39: like a

00:41:41: boat that boats are lacrimosa.

00:41:46: so I thought...I will use both

00:41:53: ends

00:41:55: into my piece for Western instruments

00:42:00: and

00:42:02: the

00:42:03: Korean traditional stuff, and a memory.

00:42:06: Yeah there seems to be this really deep connection you were mentioning already between good and mourning right?

00:42:15: Kind of helping people get on after somebody passes away.

00:42:22: Your piece Jinsan in other hand is kind more positive message in the sense that it's still sort of hoping for The best, but its kind more active.

00:42:34: It is not after somebody has passed away from what I understand But itís just asking For blessings In an everyday sense.

00:42:44: As i said there are lots Of different types of

00:42:47: good.

00:42:48: Some goods Are for dead people For mourning or grief Or some good prayer for health and safety, well... For mine I guess it's both.

00:43:03: And

00:43:03: also some good is for both especially for dead people.

00:43:08: there are stages in my piece aswell.

00:43:12: There're

00:43:12: three

00:43:13: stages.

00:43:16: The first stage is to invite a spirit.

00:43:21: the second stage you know, connect with the spirit which is kind of a climax... ...of process.

00:43:33: and then at last stage I think it's quite same in every good but you have to send the spirit into a good place.

00:43:46: That that why i thought good is kinda process off.

00:43:54: It's called reconciliation with the spirit.

00:43:59: Sometimes you have to fight for it, but at the end... ...you have to send your spirit into a good place so that there is always a good ending.

00:44:15: Don't know if theatrical is the right word, but there's so much energy in it I presume.

00:44:22: I mean that as the energy one needs to Harness to send a spirit.

00:44:26: yes To a good place

00:44:28: actually yeah.

00:44:29: So When they explain their piece well If they say its process rate and i think

00:44:40: In

00:44:40: Korean music as well, it's kind of a process.

00:44:42: We in western music we have a form right?

00:44:45: But in korean music It's like a process.

00:44:48: so...in my composition there is a rhythmic cycle Played by the percussion Janggu.

00:44:55: So they repeat the same rhythmic cycle for one stage And then when you move to another stage The cycle is changing step-by-step process which is the same in good processes as well.

00:45:14: So, good is a combination of music dance ritual like it's all kind of combined art.

00:45:24: I think so yeah It's an inspiration for me and i wanted to reflect that process in my music.

00:45:38: and What kind of a processed?

00:45:41: Did you go through yourself?

00:45:44: where was it a process for you personally then writing this.

00:45:48: It's maybe different to sort of a Composing as grieving, you know.

00:45:53: or composing has away too to show us, where were you at the same time?

00:46:00: I think it's not quite a personal experience.

00:46:03: It is just common stage for every good.

00:46:07: so... I was trying to present my music and needed some kind of standard

00:46:19: process

00:46:24: For this piece, I didn't really connect myself to that composition.

00:46:28: but

00:46:28: it can relate

00:46:33: the circumstance right now as well.

00:46:36: There are lots of conflicts and wars so many victims... This kind of program can also be related with circumstances.

00:46:48: It could be related to some personal

00:46:51: life experience

00:46:52: as well.

00:46:54: So I don't know how it can touch the audience, individual by individual but... ...it could mean just differently for every individual.

00:47:08: I guess

00:47:09: War plays a role or is mentioned in your piece As well, is there a process that maybe you wanted the audience or anybody to move

00:47:25: through

00:47:25: with your texts?

00:47:28: Because I think

00:47:30: they are

00:47:30: three different deaths.

00:47:33: One means death of who don't know because we have no feeling okay.

00:47:38: he died.

00:47:38: Okay, because you don't somebody.

00:47:41: this first death second death is death of your closest friend or family.

00:47:47: It just makes you feel sorry and we cannot imagine how bad it is, but another one is the death of my life right?

00:48:01: So if I die... If i pass away what's going to happen?

00:48:06: so when i compose that music actually think about myself even the process of my death.

00:48:15: If I die or somebody died, if... My family were close friends and each was very sad but my death is quite different thing.

00:48:28: so But i didn't think about my death at all until when i was young.

00:48:35: this day im thinking that if i die tomorrow then what will happen?

00:48:43: Go?

00:48:44: and then as a Korean when I heard that Namyang byo shin go, I thought about especially my death.

00:48:53: And it's kind of very... How can you say?

00:48:59: Grief is not enough for me how could they say the death on myself?

00:49:05: It's end-of-the-world.

00:49:08: So yeah!

00:49:11: When I hope When audiences listen to my music, I hope they think about their own death.

00:49:17: Even German people or Korean people even whatever.

00:49:21: and what is going be... What's gonna happen in the end of our life?

00:49:30: And then we're gonna.

00:49:32: nobody knows because you know that no one knows what it's gonna happened after this.

00:49:36: but We believe something will happen.

00:49:40: Yeah, this is my process of my composition anyway.

00:49:49: I think that's a beautiful note to look forward to this evening and will be carried.

00:49:57: we'll hopefully come through the process with each other.

00:50:03: We'll be alive on the other side for them at any moment.

00:50:09: but thank you so much

00:50:13: For

00:50:13: talking to us and for sharing so much with us.

00:50:17: We hope you enjoy your club latte!

00:50:18: It'll

00:50:18: certainly keep you alive, thank-you for preparing this for us.

00:50:24: I'm going to try it... It will give you a life at the moment anyway.

00:50:30: Thank you very much.