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[MUSIC] Unsuk Chin (Classical Composer)

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  • madchinaman
    Chin opera to premiere in Ojai http://www.calendarlive.com/music/classical/cl-et- quick14.4nov14,2,1827074.story The world premiere of a work for soprano and
    Message 1 of 1 , Nov 14, 2003
      Chin opera to premiere in Ojai
      http://www.calendarlive.com/music/classical/cl-et-
      quick14.4nov14,2,1827074.story

      The world premiere of a work for soprano and orchestra by South
      Korean-born composer Unsuk Chin will highlight the 58th Ojai
      Festival, June 3-6, new festival director Thomas W. Morris announced
      Thursday.

      Chin has served as composer in residence for the Deutsches Symphonie-
      Orchester Berlin, led by Kent Nagano, music director of the Ojai
      Festival. Nagano also has commissioned her to write an opera based
      on "Alice in Wonderland" for L.A. Opera's 2005-06 season.

      Other highlights of the festival will include a rare performance in
      English of Carl ("Carmina Burana") Orff's opera "Die Kluge" ("The
      Wise Woman"), a new performing edition of Ockeghem's 15th
      century "Missa Ecce ancilla domini" and a performance in English of
      Bach's "Passion According to St. John."

      Series tickets, $65 to $400, are on sale: (805) 646-2094 or
      www.ojaifestival.org.

      =============

      Unsuk Chin
      b. 1961
      http://www.boosey.com/pages/cr/composer/composer_main.asp?
      composerid=2754

      Unsuk Chin was born in Seoul, studied with Ligeti in Hamburg, and is
      now resident in Berlin * Her output features both electronic and
      acoustic scores * Music is modern in language, but lyrical and non-
      doctrinaire in communicative power * Acute ear for instrumentation,
      orchestral colour, and rhythmic imagery * Acrostic-Wordplay has been
      performed by ensembles in Europe, Asia and North America *
      Interpreters include the Ensemble InterContemporain, Ensemble
      Modern, Kronos Quartet, pianist Rolf Hind, violinist Viviane Hagner,
      and conductors Kent Nagano, Simon Rattle and George Benjamin

      Works by Unsuk Chin include:
      Acrostic-Wordplay (1991/93) for soprano and ensemble
      Violin Concerto (2001) for violin and orchestra
      Double Concerto (2002) for piano, percussion and ensemble

      Looking Ahead: performances of Acrostic-Wordplay this season in
      Milan, Paris, Cologne and Porto; UK premiere of Violin Concerto and
      Japanese premiere of Piano Concerto in February 2004; Swiss premiere
      of Double Concerto conducted by Heinz Holliger in March 2004; future
      commissions for Los Angeles Opera in 2004/05 and for London
      Sinfonietta in 2005; continuing series of Etudes for solo piano;
      plans for a portrait CD

      "a formidable ear for sonority and for mining the expressive
      potential of the slightest nuances of pitch and pulse." — The
      Guardian

      ==================


      Unsuk Chin international success
      http://216.239.51.104/search?q=cache:qCWrflffP8cJ:www.gates-
      ink.demon.co.uk/what/news/chin.html+unsuk+chin&hl=en&ie=UTF-8

      The music of the Korean-born composer Unsuk Chin is increasingly
      being programmed by leading contemporary music groups, festivals and
      orchestras around the world. An ideal introduction to Chin's music
      is her most celebrated work, Akrostichon-Wortspiel (Acrostic-
      Wordplay) (1991/93) for soprano and ensemble, which has proved
      highly successful wherever it has been performed. Players relish the
      music's virtuosic challenges and the composer's acute ear for
      instrumentation, while audiences have responded enthusiastically to
      the music's colour, whimsical humour and lightness of touch. The
      wordless soprano part has attracted leading contemporary singers,
      including Valdine Anderson and Susan Narucki.

      Akrostichon-Wortspiel has recently received its US premiere with the
      Los Angeles Philharmonic New Music Group conducted by George
      Benjamin, and the success of this concert has led to a further
      American performance on 10 February by the Chicago Symphony
      Orchestra New Music Group. The work can be heard in London on 17
      April with Nicole Tibbels and members of the Philharmonia Orchestra
      conducted by Stefan Asbury in an early evening Chin portrait
      concert, also including the UK premiere of Fantaisie mécanique.
      Asbury also conducts a studio recording of Akrostichon-Wortspiel for
      BBC Radio 3 as part of the Sounding the Century series.

      The premiere of Unsuk Chin's new work for ensemble and electronics,
      Xi, written for the Ensemble InterContemporain, takes place under
      the baton of David Robertson at the Cité de la musique in Paris on
      24 February. Xi (pronounced like the English letter C) is the Korean
      word for a seed, nucleus or smallest single particle, from which a
      larger organism grows. In musical terms the work develops from
      primal cells of material, and the title provides a further link to
      the technique of granular synthesis employed in the electronic
      contribution to the score. The electronic part, mostly on tape but
      with some sounds generated live by a sampling keyboard, was created
      at the Technical University in Berlin, which is the base for Chin's
      compositional activities.

      This Spring also brings a concert in Helsinki featuring the Finnish
      premieres of two major Chin works, Trojan Women (1986) for female
      voices and orchestra and santika Ekatala (1993) for orchestra. The
      programme on 11 March is given by the Helsinki Philharmonic and
      Sibelius Academy Orchestra under the direction of Leif Segerstam.
      Interest in Chin's music in the Nordic countries will be furthered
      by an important co-commission from the Danish Radio, Gothenburg and
      Oslo Philharmonic orchestras for a work for soprano and bass
      soloists, chorus and orchestra, due for premiere in 2001.


      Selected Performances 1991–99

      1991
      Amsterdam Nieuw Ensemble/David Porcelijn

      1993
      London Premiere Ensemble/George Benjamin
      Graz Ensemble 20 Jahrhundert/ Peter Burwik

      1994
      Krakov Seoul Art Respirant

      1996
      Copenhagen Esbjerg Ensemble/Tamas Veto
      Berlin Ensemble Modern/Benjamin
      Vienna Ensemble Modern/Benjamin
      Frankfurt Ensemble Modern/Benjamin

      1997
      Brussels Ictus Ensemble

      1998
      Los Angeles Los Angeles Philharmonic New Music Group/George
      Benjamin

      1999
      London Philharmonia Orchestra/Stefan Asbury
      Tel Aviv Israel Contemporary Players


      =================

      Unsuk Chin
      (b. 1961)
      http://www.peminfo.nl/gaudeamus/composerdetail.asp?composer=2590

      English (from: MW - 1997)
      Unsuk Chin followed lessons in piano and music theory at a very
      early age, and continued her studies at the Seoul National
      University, including composition with Sukhi Kang.

      She appeared as pianist at the Pan Music Festivals and in 1984 her
      work Gestalten (Figures) was selected for the ISCM World Music Days
      in Canada and for UNESCO's Rostrum for Composers.

      In 1985 she moved to Europe when she received the DAAD stipend to
      study in Germany, studying composition with György Ligeti in Hamburg
      until 1988.

      Since then Unsuk Chin has lived in Berlin, composing and working in
      the electronic studio of the Berlin Technical University.

      Unsuk Chin's compositions have been performed at numerous festivals
      in Europe and the Far East. She has composed works for the Ensemble
      InterContemporain, the Gaudeamus Foundation, the Tokyo Metropolitan
      Symphony Orchestra and the Inventionen Festival in Berlin.

      Her output features both acoustic and electronic scores: she sees a
      distinct compositional divide between the two strands and therefore
      does not seek to integrate these two musical worlds. Chin's works
      include Troerinnen (Trojan Women), a setting for three female
      soloists, women's chorus and orchestra on texts from Euripides'
      play: the Trojan women, led by Hecuba, Cassandra and Andromache,
      mourn the sacking of Troy, the death of their menfolk, and their
      impending fate as slaves awaiting deportation to Greece.

      This dramatic work holds much promise for any future music-theatre
      or operatic projects. sentika Ekatala won first prize in a
      competition celebrating the 50th anniversary of the Tokyo government
      in 1993.

      ============

      Unsuk Chin
      Korean Compositrice born in 1961 in Seoul
      http://translate.google.com/translate?hl=en&sl=fr&u=http://mac-
      texier.ircam.fr/textes/c00000514/&prev=/search%3Fq%3Dunsuk%2Bchin%
      26hl%3Den%26lr%3D%26ie%3DUTF-8%26oe%3DUTF-8

      Biography
      Unsuk Chin was born in 1961 in Seoul, in Korea. After having started
      very young person of the courses of piano and musical theory, it
      continues its studies at the National University of Seoul, working
      in particular the composition with Sukhi Kang.

      It occurs as pianist with the Side Music Festivals, and in 1984 its
      composition Gestalten (forms) is selected for the world Days of the
      music of the ISCM in Canada and for the "Platform of the type-
      setters" of UNESCO.

      In 1985, it is established in Europe where it receives a purse DAAD
      to study in Germany, and takes courses of composition with György
      Ligeti in Hamburg until 1988. Since then, Unsuk Chin lives in
      Berlin, composes and works with the electronic studio of the
      technical University of the city.

      The compositions of Unsuk Chin were carried out in many festivals in
      Germany, in Austria, in Scandinavia, in the Netherlands, in France,
      in the United Kingdom and in the Far East.

      Among its works let us quote Troerinnen (Troyennes), for three
      votes, chorus of women and full orchestra (1986); Gradus infinitum ,
      for magnetic tape (1989); Akrostichon wordplay , for soprano and
      together (1991, ordering of the Gaudeamus foundation); El aliento of
      sank , for magnetic tape (1991-92, ordering of the Inventionen
      festival of Berlin); Santika ekatala , for orchestra;
      ParaMetaString , written for Kronos Four-bit byte; a new work for
      the pianist Rolf Hind and the National BBC Orchestrated of Wales
      directed per Mark Wigglesworth created in May 1997. Unsuk Chin also
      composes a series of studies for piano.

      ===============

      UNSUK CHIN - 1961 KOREA - ISCM 1984, GAUDEAMUS PRIZE 1984
      http://www.gaudeamus.nl/oud/biobak/c/chinu.htm

      Unsuk Chin was born in 1961 in Seoul, Korea. Early studies in piano
      and music theory led to the National University Seoul where she
      studied composition with Sukhi Kang.

      She appeared as pianist at the Pan Music Festivals, and in 1984 her
      composition 'Gestalten' was selected for the ISCM World Music Days
      in Canada and for the UNESCO Rostrum of Composers.

      The following year, her final student work, Spektra for three
      cellos, won the International Gaudea- mus Composition Prize in
      Amsterdam.

      In 1985 she moved to Europe when she received the DAAD stipend for
      study in Germany, and took composition lessons with Györgi Ligeti in
      Hamburg until 1988.

      Since then Unsuk Chin has lived in Berlin, composing and working in
      the electronic studio of the Technical University. 'Akrostichon-
      Wortspie'l (Acrostic-Wordplay, 1991), written for soprano and eleven
      instru- ments (some with microtonal tunings), was commissioned by
      the Gaudeamus Foundation in Amsterdam and premiered by the Nieuw
      Ensemble under David Porcelijn.

      Last year Chin completed her first purely orchestral work, 'santika
      Ekatala' (1993), which won first prize in a Japanese competition and
      was performed twice in October 1993 by the Metropolitan Orchestra of
      Tokyo under Michiyoshi Inoue.

      In 1993 she was invited by Ensemble InterContemporain, Paris to
      compose a piece for the season 1994/95. The piece 'Fantaisie
      Mécanique' was performed on December 2, 1994 in Paris. At the
      present Unsuk Chin is working a.o. on a cycle of 12 piano-etudes,
      which were perfor- med on June 12, 1995 in Berlin by the pianist
      Shiao-Li Ding. Since October 1994 the compo- ser is living in Paris
      for a year on a stipend from the Berlin Senat.

      Akrostichon-Wortspiel (Acrostic-Wordplay) (1991/93) I. Hide and Seek
      II. The Puzzle of the Three Magic Gates III. The Rules of the Game-
      sdrawkcab emiT IV. Four Seasons in Five Verses V. Domifare S VI. The
      Game of Chance VII. From the Old Time 'Akrostichon-Wortspiel'
      (Acrostic-Wordplay), commissioned by the Gaudeamus Foundation, was
      composed in 1991 for the occasion of the 1980 Gaudeamus
      Prizewinner's Concert and its first performance, in incomplete form,
      was given by the Nieuw Ensemble in Amsterdam conducted by David
      Porcelijn.

      The piece was completed two years later and this definitive version
      received its premiere at the Queen Elizabeth Hall in London on
      September 8, 1993 with George Benjamin conducting the Premiere
      Ensemble. 'Akrotichon-Wortspiel' consists of seven scenes from the
      fairytales 'The Endless Story' by Michael Ende and 'Alice Through
      the Looking Glass' by Lewis Carroll.

      The selected texts have been worked upon in different ways:
      sometimes the consonants and vowels have been random- ly joined
      together, other times the words have been read backwards so that the
      symbolic meaning alone remains.

      Each of the seven pieces is constructed around a controlling pitch
      centre but in their means of expression they are fully
      differentiated from one another.

      Seven different situations or emotio- nal states, as described in
      the fairytales, ranging from the bright to the grotesque are brought
      to expression. The tunings of some of the ensemble instruments are
      adapted from one quarter to one sixth of a tone to achieve a fine
      microtonality. The solo soprano fluctuates between these two tuning
      systems, depending upon which she perceives at any time.

      16 minutes soprano, piccolo/alto flute, bass clarinet, percussion,
      mandolin, harp, piano, violin, viola, double bass

      Boosey & Hawkes Musikverlag Postfach 1264 D-53002 Bonn 1 Germany
      Tel.: ..49.228.988690 Fax: ..49.228.9886911

      CANZONE II

      was written in 1986, commissioned by Gaudeamus as a result of
      winning the Gaudeamus-prize in 1985 for the three-cello-piece
      Spektra. This is the second piece in a series of compositions for
      solo-instruments. At the beginning improvised-ornamental and exactly
      fixed figures occur in a fast, but irregular tempo.

      At the same time chord elements are developped, which individualize
      more and more and thus get a totally new character. Finally the
      changed chord structures and the fast figures make a synthesis.

      In 1988 Unsuk Chin made a reversed and enlarged version.

      GRADUS AD INFINITUM FüR TONBAND

      This piece is based on a micro-tone scale of 20 tones in an octave.
      There are 8 different parts, i.e. 4 different two-voice canons in
      retrograde motion which are juxtaposed polyrhythmically.

      Each part consists of a short motive, which is developped by
      imitation with contrary motion and reversal - and yet again
      imitation and so on. Therefore a real end is not clear. The global
      structure is divided in 5 sections of about 2 minutes each.

      Though each part is very articulated, the whole looks rather chaotic
      because of the dense texture : chaos in order / order in chaos. This
      piece was realized in the electronic studio of the T.U. Berlin in
      1989.

      Muziekweek 1997

      UNSUK CHIN (South Korea, 1961) Unsuk Chin followed lessons in piano
      and music theory at a very early age, and continued her studies at
      the Seoul National University, including composition with Sukhi
      Kang. She appeared as pianist at the Pan Music Festivals and in 1984
      her work Gestalten (Figures) was selected for the ISCM World Music
      Days in Canada and for UNESCO's Rostrum for Composers.

      In 1985 she moved to Europe when she received the DAAD stipend to
      study in Germany, studying composition with György Ligeti in Hamburg
      until 1988. Since then Unsuk Chin has lived in Berlin, composing and
      working in the electronic studio of the Berlin Technical University.
      Unsuk Chin's compositions have been performed at numerous festivals
      in Europe and the Far East.

      She has composed works for the Ensemble InterContemporain, the
      Gaudeamus Founda- tion, the Tokyo Metropolitan Symphony Orchestra
      and the Inventionen Festival in Berlin. Her output features both
      acoustic and electronic scores: she sees a distinct compositional
      divide between the two strands and therefore does not seek to
      integrate these two musical worlds.

      Chin's works include Troerinnen (Trojan Women), a setting for three
      female soloists, women's chorus and orchestra on texts from
      Euripides' play: the Trojan women, led by Hecuba, Cassan- dra and
      Andromache, mourn the sacking of Troy, the death of their menfolk,
      and their impen- ding fate as slaves awaiting deportation to Greece.
      This dramatic work holds much promise for any future music-theatre
      or operatic projects. sentika Ekatala won first prize in a
      competition celebrating the 50th anniversary of the Tokyo government
      in 1993.

      s a n t i k a E k a t a l a ( 1 9 9 3 ) f o r l a r g e o r c h e s
      t r a The title of the piece is taken from Sanskrit and
      means "harmony to ward off evil consequen- ces". Thus the piece can
      be interpreted as part of a ritual, since it is still current
      practice. In Asia in a buddhist-shamanistic tradition a ritual is
      enacted to summon good prospects at the start of an important
      undertaking, to ward off evil spirits and to propitiate good
      spirits.

      For years I planned to write a piece for large orchestra, after
      completing a series of works for choir and orchestra, chamber
      ensemble and recorded material.

      So in early 1993 I had the opportunity to start this project and got
      the piece down on paper in a phase of intensive work, after having
      planned it thoroughly in previous years.

      The harmonic structure is made up of varying key notes: from the
      framework of their overto- nes a kind of tonality in triads results.
      I have also allowed myself many things which were 'forbidden' in the
      modernist tradition of music, such as repetition of phrases and
      consonant intervals.

      Hence tension is built up and relaxed in a more classical way. This
      piece is made up of a number of small sections, but there is a
      musical progression which runs throughout. Concepts associated with
      the development of the work are 'motion'
      and 'immobility', 'explosion' and 'implosion'.
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