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Isang Yun: Chamber Music
Isang Yun’s works are inconceivable without the East Asian philosophy of the Tao. The more than one hundred works composed by Isang Yun in Europe combine national tradition with international modernity. Yun found his way to an individual sound in Europe through the reminiscence of Chinese-Korean court music. Furthermore, the oeuvre is characterized by the flexible, lively tone of the traditional music of his home, by the art of the flowing transition from the spirit of the Tao. The chamber music occupies an important role in Yun’s oeuvre; the composer experimented with not only the most diverse and also unusual combinations of instruments, but also continued to compose in traditional classical genres. The present release features his East-West-Miniatures, his Quartet for Oboe and String Trio, and more.
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REVIEW:
Yun radically cut sections from his 1991 Sonata for violin and piano shortly before its premiere, ostensibly to reinforce the transparency of the violin part. In Walter-Wolfgang Sparrer’s view this was a mistake, and here Egidius Streiff and Kaya Han deliver a majestic performance of the original version in what is its first recording. By Yun’s standards the opening is rather conventional, with the expressive violin singing over the piano’s chordal, punctuating accompaniment but this soon develops more unpredictably, with a rapid piano episode echoed by the violin in lively, almost neo-classical vein. Essentially the first part of the work is mercurial and turbulent, at times almost Bartokian. But the second part is slow and, reflective. There is a magical passage at 15:00 which is prayer-like in its simplicity, whereby Streiff’s violin almost seems to speak. The sonata’s conclusion is profoundly affecting as the work evaporates into nothingness.
It is largely down to CPO, ECM and Capriccio (three German labels) that Isang Yun’s legacy is primarily being maintained and reinforced. Connoisseurs of the finest modern music have much to thank them for.
– MusicWeb International
-----
REVIEW:
Yun radically cut sections from his 1991 Sonata for violin and piano shortly before its premiere, ostensibly to reinforce the transparency of the violin part. In Walter-Wolfgang Sparrer’s view this was a mistake, and here Egidius Streiff and Kaya Han deliver a majestic performance of the original version in what is its first recording. By Yun’s standards the opening is rather conventional, with the expressive violin singing over the piano’s chordal, punctuating accompaniment but this soon develops more unpredictably, with a rapid piano episode echoed by the violin in lively, almost neo-classical vein. Essentially the first part of the work is mercurial and turbulent, at times almost Bartokian. But the second part is slow and, reflective. There is a magical passage at 15:00 which is prayer-like in its simplicity, whereby Streiff’s violin almost seems to speak. The sonata’s conclusion is profoundly affecting as the work evaporates into nothingness.
It is largely down to CPO, ECM and Capriccio (three German labels) that Isang Yun’s legacy is primarily being maintained and reinforced. Connoisseurs of the finest modern music have much to thank them for.
– MusicWeb International
$7.70
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$21.99
$7.70Isang Yun: Chamber Music
Isang Yun’s works are inconceivable without the East Asian philosophy of the Tao. The more than one hundred works composed by Isang Yun in Europe combine national tradition with international modernity. Yun found his way to an individual sound in Europe through the reminiscence of Chinese-Korean court music. Furthermore, the oeuvre is characterized by the flexible, lively tone of the traditional music of his home, by the art of the flowing transition from the spirit of the Tao. The chamber music occupies an important role in Yun’s oeuvre; the composer experimented with not only the most diverse and also unusual combinations of instruments, but also continued to compose in traditional classical genres. The present release features his East-West-Miniatures, his Quartet for Oboe and String Trio, and more.
-----
REVIEW:
Yun radically cut sections from his 1991 Sonata for violin and piano shortly before its premiere, ostensibly to reinforce the transparency of the violin part. In Walter-Wolfgang Sparrer’s view this was a mistake, and here Egidius Streiff and Kaya Han deliver a majestic performance of the original version in what is its first recording. By Yun’s standards the opening is rather conventional, with the expressive violin singing over the piano’s chordal, punctuating accompaniment but this soon develops more unpredictably, with a rapid piano episode echoed by the violin in lively, almost neo-classical vein. Essentially the first part of the work is mercurial and turbulent, at times almost Bartokian. But the second part is slow and, reflective. There is a magical passage at 15:00 which is prayer-like in its simplicity, whereby Streiff’s violin almost seems to speak. The sonata’s conclusion is profoundly affecting as the work evaporates into nothingness.
It is largely down to CPO, ECM and Capriccio (three German labels) that Isang Yun’s legacy is primarily being maintained and reinforced. Connoisseurs of the finest modern music have much to thank them for.
– MusicWeb International
-----
REVIEW:
Yun radically cut sections from his 1991 Sonata for violin and piano shortly before its premiere, ostensibly to reinforce the transparency of the violin part. In Walter-Wolfgang Sparrer’s view this was a mistake, and here Egidius Streiff and Kaya Han deliver a majestic performance of the original version in what is its first recording. By Yun’s standards the opening is rather conventional, with the expressive violin singing over the piano’s chordal, punctuating accompaniment but this soon develops more unpredictably, with a rapid piano episode echoed by the violin in lively, almost neo-classical vein. Essentially the first part of the work is mercurial and turbulent, at times almost Bartokian. But the second part is slow and, reflective. There is a magical passage at 15:00 which is prayer-like in its simplicity, whereby Streiff’s violin almost seems to speak. The sonata’s conclusion is profoundly affecting as the work evaporates into nothingness.
It is largely down to CPO, ECM and Capriccio (three German labels) that Isang Yun’s legacy is primarily being maintained and reinforced. Connoisseurs of the finest modern music have much to thank them for.
– MusicWeb International
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Description
Isang Yun’s works are inconceivable without the East Asian philosophy of the Tao. The more than one hundred works composed by Isang Yun in Europe combine national tradition with international modernity. Yun found his way to an individual sound in Europe through the reminiscence of Chinese-Korean court music. Furthermore, the oeuvre is characterized by the flexible, lively tone of the traditional music of his home, by the art of the flowing transition from the spirit of the Tao. The chamber music occupies an important role in Yun’s oeuvre; the composer experimented with not only the most diverse and also unusual combinations of instruments, but also continued to compose in traditional classical genres. The present release features his East-West-Miniatures, his Quartet for Oboe and String Trio, and more.
-----
REVIEW:
Yun radically cut sections from his 1991 Sonata for violin and piano shortly before its premiere, ostensibly to reinforce the transparency of the violin part. In Walter-Wolfgang Sparrer’s view this was a mistake, and here Egidius Streiff and Kaya Han deliver a majestic performance of the original version in what is its first recording. By Yun’s standards the opening is rather conventional, with the expressive violin singing over the piano’s chordal, punctuating accompaniment but this soon develops more unpredictably, with a rapid piano episode echoed by the violin in lively, almost neo-classical vein. Essentially the first part of the work is mercurial and turbulent, at times almost Bartokian. But the second part is slow and, reflective. There is a magical passage at 15:00 which is prayer-like in its simplicity, whereby Streiff’s violin almost seems to speak. The sonata’s conclusion is profoundly affecting as the work evaporates into nothingness.
It is largely down to CPO, ECM and Capriccio (three German labels) that Isang Yun’s legacy is primarily being maintained and reinforced. Connoisseurs of the finest modern music have much to thank them for.
– MusicWeb International
-----
REVIEW:
Yun radically cut sections from his 1991 Sonata for violin and piano shortly before its premiere, ostensibly to reinforce the transparency of the violin part. In Walter-Wolfgang Sparrer’s view this was a mistake, and here Egidius Streiff and Kaya Han deliver a majestic performance of the original version in what is its first recording. By Yun’s standards the opening is rather conventional, with the expressive violin singing over the piano’s chordal, punctuating accompaniment but this soon develops more unpredictably, with a rapid piano episode echoed by the violin in lively, almost neo-classical vein. Essentially the first part of the work is mercurial and turbulent, at times almost Bartokian. But the second part is slow and, reflective. There is a magical passage at 15:00 which is prayer-like in its simplicity, whereby Streiff’s violin almost seems to speak. The sonata’s conclusion is profoundly affecting as the work evaporates into nothingness.
It is largely down to CPO, ECM and Capriccio (three German labels) that Isang Yun’s legacy is primarily being maintained and reinforced. Connoisseurs of the finest modern music have much to thank them for.
– MusicWeb International
