List of Works


Labyrinth for clarinet, English horn, trombone, viola, cello, percussion, and piano 1997 (KSWC 2004-01; CD KSWC, volume 11)

Psalm 8 for mixed chorus and piano 1997

Mass for mixed chorus and organ 1998

Four Songs from DongJu Yoon’s Poems for voice and piano 1998 (revised 2008)

Ruth, a dramatic cantata for soprano, mezzo soprano, baritone, chorus, and orchestra 1998

The Scenes for clarinet, bassoon, and cello 2002 (CD CMK Canticle, 2006)

Three Images about the Sea for voice and clarinet 2003

Passacaglia for flute, oboe, violin, and trombone 2005

Four Temperaments for solo violin 2005

Transformation for orchestra 2006

The Voyage of the Wind for four clarinets 2006

Dots, Lines and Space for two violins, viola, and cello 2006

The Butterfly Effect for flute, clarinet, violin, and cello 2007

Sympathyfor violin and cello 2008

Hwaseokchung for daegeum, violin, viola, and cello 2008

Poongkyung for flute, clarinet, and piano 2008

Role Play 1 for bassoon and double bass 2009

Agnus Dei for women’s chorus and piano 2009

Shadow of the Moon for alto flute, bass clarinet, viola, cello, and piano 2010

Poonkyung II for violin, clarinet, and piano 2010

 

Music Examples

Dots, Lines and Space

Example 1: tone rows used in the quartet 

Example 2: movement 1, mm. 1-15, characterized by dichotomy between pointillistic violin parts (using tone row 1) and viola/cello harmonics (using tone row 2).

Example 3: movement 2, mm. 25-43, conclusion of second free section, slower 6/8 section, and sections in 16/16 and 15/16 with asymmetrical rhythms.

Example 4: movement 3, first violin part, contrasting sections based on concept of bigger wavy line on tone row 4, dots for tone row 1, smaller wavy lines on tone row 3 and straight lines for tone row 2.

 

Hwaseokchung

Example 1: mm. 1-17chromaticism in strings, with daegum melody incorporating elements from Korean traditional music. 

Example 2: mm. 101-120, with daegum part using extended techniques.

 

Labyrinth

Example 1: mm. 1-7, shows the circular melodic lines in the winds and strings, the long trills, and the shifting rhythms.

Example 2: mm. 108-116, showing expansion of piano/marimba motives and the rhythmically displaced four-note motive introduced in m. 115.

Example 3: Labyrinth Row, tone row introduced beginning in m. 165.

Example 4: mm. 159-175, showing climax of the septet followed by the pointillistic section that introduces a twelve-tone row.