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xyzzzz__
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« on: 11:50:33, 13-03-2007 » |
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I quite like the sonata for Oboe, Harp and viola.
I've heard a few other works, but apart from Reak, nothing has grabbed me as much.
Anyone, tell me more of yr encounters w/his music, or any impressions?
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oliver sudden
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« Reply #1 on: 20:06:11, 14-03-2007 » |
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Waiting for me at home I have the cpo box set of the symphonies. Very cheap by the way: €15 from jpc.Looking forward to hearing them. I think there's still quite a bit of discovery to be done here. Some of his clarinet pieces are marvellous. The first clarinet quintet is a gorgeously luscious thing (Sabine Meyer recorded it some time ago). The clarinet concerto is very formidable indeed - the slow movement is on bass clarinet, which can't have helped it get performances. It's possible that it's a bit shapeless - it certainly rambles a bit but I don't see why a few more performances (perhaps even one from, well, dare I suggest it, me?) shouldn't help us find out if there's some sense to be had out of its meanderings. Certainly the Monolog for bass clarinet that he drew from that slow movement for Harry Sparnaay is a wonderful piece. The Rondell for reed trio is also gorgeous - lots of fistfuls of notes and then dying out over octaves bent by quarter-tones. Riul for clarinet and piano is high up in my in-tray. I've encountered all those professionally of course; I haven't managed to hear a great deal on CD yet and in concert I think all I've heard was the aforementioned Monolog. There's plenty that could usefully be revived there. |
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richard barrett
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« Reply #3 on: 09:40:51, 15-03-2007 » |
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Just ordered those symphonies for myself, Oliver. I must have heard some Yun at some point in my life but now I simply have no idea at all what to expect when I hear them.
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Ian Pace
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« Reply #4 on: 11:05:06, 15-03-2007 » |
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Yun's a composer who somehow I've hardly ever heard as well - must also get those symphonies.
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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martle
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« Reply #5 on: 11:15:45, 15-03-2007 » |
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Yes, the very little I've heard makes me want to get the symphonies too. Austere, finely-crafted and spare - that's what I remember. Yun had a formidable reputation as a teacher, didn't he? (Formidable in a positive sense, I mean.)
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Green. Always green.
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pim_derks
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« Reply #6 on: 15:56:29, 16-03-2007 » |
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Yun's First Symphony is a masterpiece. The other four are also interesting, but the First is really a modern classic.
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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xyzzzz__
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« Reply #7 on: 00:18:50, 31-03-2007 » |
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Gave his "Cello Concerto" (from '75) a first listen - liking it lots right now.
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richard barrett
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« Reply #8 on: 16:39:05, 02-04-2007 » |
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My Yun symphonies arrived, but so far I've only got as far as the first movement of the First. It is indeed quite striking. I'm not sure whether the structure of it isn't a bit unsubtle, but the connection with Korean classical music is certainly clear without sounding like cultural tourism (in either direction). Try this for example: http://www.amazon.com/Sinawi-Music-Korea-Various-Artists/dp/B000001LUKor, better still, get yourself the CD. The first piece, the only one played by the full sinawi ensemble, startled me half out of my wits when I first heard it - such a thing would be impossible to "translate" onto Western instruments, but shows one possible point of origin for the ecstatic side of Yun's work. |
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Ron Dough
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« Reply #9 on: 23:06:18, 05-04-2007 » |
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Nothing more than a name to me, until the Schoenberg Ensemble box arrived. There's a whole disc of pieces: Kammerkonzert 1, Pièce concertante, Distanzen, and Quartett. An intriguing first listen: a disconcerting mix of the oddly almost familiar and the totally strange, definitely something to return to soon...
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richard barrett
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« Reply #10 on: 10:26:00, 06-04-2007 » |
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That just about sums it up for me too, Ron - I think you'd find the First Symphony an interesting listen, though it would be nice to hear it played with at least the possibility of more orchestral refinement (although that isn't what the music is about most of the time) than the Pomeranian Philharmonic can provide - it's not a complete dog of an orchestra (despite its name  ) but it would be nice to hear the many rough edges in the music in more of a context. Anyway I'd put it like this: Yun's music seems to "hear" the Western tradition from the same kind of "foreign" distance as many Western composers' music relate to Eastern musics of various kinds - in other words very differently from of someone like Takemitsu. |
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xyzzzz__
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« Reply #11 on: 10:54:27, 06-04-2007 » |
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I must get onto some more Korean music to see how it all fits w/ Yun's music, def like some to hear some recordings of Noh theatre type of music.
The cello concerto is very strange, the cello sounds almost as if its being played in another room sometimes...its meant to be some sort of account of his experiences as a political prisoner, so I'm not sure that bcz I know this fact it already informs my impression (will return to this over the weekend). And yes, v diff to composers from Japan such as Takemitsu or Hosokawa. Maybe Yun is a midway between Takemitsu, who seemed very preoccupied with how west and east mingled and someone younger like Noriko Hisada, who, judging by this one interview I've read, doesn't really care for any fusionistic approach.
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pim_derks
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« Reply #12 on: 11:04:40, 06-04-2007 » |
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That just about sums it up for me too, Ron - I think you'd find the First Symphony an interesting listen, though it would be nice to hear it played with at least the possibility of more orchestral refinement (although that isn't what the music is about most of the time) than the Pomeranian Philharmonic can provide - it's not a complete dog of an orchestra (despite its name ) but it would be nice to hear the many rough edges in the music in more of a context. Anyway I'd put it like this: Yun's music seems to "hear" the Western tradition from the same kind of "foreign" distance as many Western composers' music relate to Eastern musics of various kinds - in other words very differently from of someone like Takemitsu. The sound of the CPO recording isn't very good, I think. Perhaps some orchestral refinement was lost because of a technically inferior recording. The musical styles of Yun and Takemitsu are indeed very different. I think this has a lot to do with the fact that Takemitsu's music is more related to Debussy and Stravinsky and Yun's music is more related to the German expressionistic tradition. |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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richard barrett
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« Reply #13 on: 12:19:34, 09-04-2007 » |
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That's surely right, Pim - but I think another factor is that Takemitsu so to speak feels completely at home the Western musical tradition (or that part of it which attracts him) whereas Yun sounds as if he's trying to work out from a "foreigner's" perspective how (if?) it all fits together.
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pim_derks
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« Reply #14 on: 14:21:33, 09-04-2007 » |
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That's surely right, Pim - but I think another factor is that Takemitsu so to speak feels completely at home the Western musical tradition (or that part of it which attracts him) whereas Yun sounds as if he's trying to work out from a "foreigner's" perspective how (if?) it all fits together.
Possible perhaps. I also think that Yun's music sounds more "folkloristic" than Takemitsu's music. |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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