Unji Society Chamber Orchestra Series XX

[PERFORMANCE INTRODUCTION] Choi Jin-seok Shadow-Play for String Orchestra (2023/2026) One day, I observed my shadow cast upon the ground with close attention. That shadow followed me sometimes in very accurate form and sometimes in distorted and warped shapes. This piece was written out of a desire to express these shadow forms through music. To musically depict the shapes of shadows, the compositional technique I employed in this work is imitation. That is, in each musical phrase, a musical motif is first introduced in one instrument, which represents 'myself.' Then this motif is imitated as is by the other instruments, or imitated with variations in parameters such as pitch, direction, timbre, and dynamics. Lee Han-shin for String Ensemble for string ensemble is a requiem for my father, who passed away in February 2023, and a final farewell dedicated to my beloved university professor who passed away suddenly in March of this year. The work began with the surreal afterimage of a white butterfly soaring into the desolate sky, piercing through the cold winter snow on the day of my father's funeral procession. That bittersweet memory of liberation, overlapping now three years later with my mourning for my mentor, expands into a grand narrative of renewal beyond loss. Through the delicate textures created by the strings, the composer's deep consolation is conveyed—a wish that the souls vanished into the cold snow may find eternal peace in the world beyond. Lee Bok-nam (rev. 2026) "The Lion Dance: Bukcheon" is a composition inspired by the Bukcheon Lion Dance, a traditional performance where participants wear lion masks during the Daeboreum festival in Bukcheon County, South Hamgyong Province. The music of the Bukcheon Lion Dance, currently designated as Intangible Cultural Property No. 15, is characterized by the piri playing in somewhat unfamiliar scales with repetitive heterophonic detuned melodies, sturdy drum patterns, and the vibrant dynamism of the lion dance. Beginning with an introduction that poignantly depicts the nighttime image of Bukcheon, this piece weaves together the melodies found in the Bukcheon Lion Dance through percussion and string orchestra, creating a joyful and playful atmosphere. "The Lion Dance: Bukcheon" was adapted from the "Bukcheon Lion Dance" for string orchestra and two percussionists at the commission of Wonji-hoe. Lee In-shik for String Orchestra (2026) As I prepare to cross Joryeong Pass, my heart swells with the grand hope I have long cherished. What path will greet me beyond this ridge? Anticipating this day, I have strived through a considerable span of time, running about and struggling hard, yet now I reflect upon my own journey once more. The wind seeping through the mountainside gently pats my shoulder, as if to wash away the hardships I have endured. Let us cross over! Let us meet the self that awaits beyond! Joryeong stands before me in silence. Against its majestic presence, my appearance seems humble. Have I always been so small? I become humbled. Within me, I climb and descend the uneven hillside. Climbing and descending, catching my breath. How is this hill just like my own heart? Occasionally, sounds drifting from nearby villages seem to console me. Arirang, arirang—the song of our lives. Lee Jong-gu for String Ensemble (2026) Today, I wish to recall a story from more than fifty years ago, when I was studying in Germany. At that time, my teacher was Professor Eugen Felte. One day, after I composed a work called "Three Sounds, Three Softs, Three Longs" and showed him the tone row that formed its musical foundation, he said, "It is a pity that you could not become a student of Messiaen but became my student instead," and he named this tone row 'Yi's dodecaphony.' This tone row was created based on our country's three-tone scale, built up in minor thirds, and the professor evaluated it as "a logical tone row that can traverse both tonal and atonal realms." He even took my composition and paper directly to the Karlsruhe University of Music library and kept them there, and I often wonder if traces of this legacy still remain there today. Now, more than fifty years later, I revisit that tone row and compose new music to include in my "Majigut" series. The feeling of stepping back into those distant memories is like floating through a faded old photograph. Baek Byung-dong for Piri and Small String Orchestra (rev. 2026)