List of Works
The Dawning for two violins, viola, and cello 1996
A Sprout for solo clarinet 1997 (KSWC TCMS-0009, 2000)
Lamentation for oboe, clarinet, tenor saxophone, bassoon, and piano 1997
Sonata for two violins, viola, and cello 1998
Creator of My Soul for soprano and piano 1998
Song of the Blue Bird for flute, clarinet, violin, cello, and piano 1998
A Flash of Light for solo marimba 1999
Rumination for flute and viola 1999
Turning for flute, bassoon, trumpet, trombone, and percussion 1999
Longing for tenor and piano 1999
Vision for orchestra 1999
Soliloquy for solo oboe 2000
Easter Cantata, Messiah of the Resurrection for mixed chorus and piano 2000
Quartet for soprano, alto, tenor, and bass saxophones 2000 (KSWC TCMS-0027, 2001)
Reaching to the Heavens for solo violin 2001
God’s Hands for mixed chorus 2001
Orchestral Canvas for orchestra 2001
Motion for piano and orchestra 2001
Refrain for four marimbas 2002
Saek-dong for bassoon, violin, viola, and cello 2002 (CD KSCM, 2003)
Hope Resurrected for Korean traditional orchestra 2002 (CD KSWC, volume 9)
Three Messages for trombone and percussion 2003
O-Saek for flute, clarinet, violin, cello, and piano 2003
Shadow Dancing for trumpet, cello, and piano 2004
Kyul for two violins, viola, and cello 2004 (CD KSWC, volume 11)
The Glimmer of a Firefly for soprano and piano 2004
Hwa-Seok for tenor and piano 2004
Images of Sae-ya Sae-ya for flute, clarinet, violin, cello, and piano 2004
Castle of an Afterglow of the Sunset for tenor and piano 2005
Mist Flower for soprano and piano 2005
Relief for clarinet, cello, and gayageum 2005
Crystal Balls for clarinet, violin, and piano 2005 (CD Trio Haan: 21st Century Korean Contemporary Music, volume II, MUZOO records, 2005)
Trilogy for two trumpets, horn, trombone, tuba, and four percussionists 2005
Rustlings for orchestra 2005
Winter Cornus officinalis for tenor and piano 2006
Otus scops stictonotus for soprano and piano 2006
The Kerria japonica for baritone and piano 2006
O-Saek for flute, oboe, clarinet, horn, and bassoon 2006
Karma for solo clarinet 2006
Moving On for flute and percussion 2006
Moving On for flute and five percussionists 2006–7.
The Moment for solo piano 2007
Kairos for six percussionists 2007
Spring for two pianos/eight hands 2007
The Autumn for flute and piano 2007
Ostinato in Springtime for five percussionists 2008
Silence of the Old Castle for soprano, alto, tenor, and baritone saxophones 2008
Rondo for three gayageums 2008
Autumn Overture for Korean traditional orchestra 2008
The Movement for four percussionists 2009
Sonata for twelve-string solo gayageum 2009
Cheongmyeong for Korean traditional orchestra 2009
Stillness for piano and twelve percussionists 2010
Gok-Woo for soprano and piano 2010
Paulownia’s Dream to be a Sound for geomungo and jing 2010
Transfiguration for oboe and Korean traditional orchestra 2010
Biwon for viola and Korean traditional orchestra 2011
Flame for alto saxophone and geomungo with Korean traditional orchestra 2011
Sea Road for gayageum, large ajaeng, and Korean percussion 2012
Example 1: mm. 1-13, A section, focusing on Ab-D-Eb motive, minor seconds, perfect fourths and augmented fourths, and conflict between A and Ab.
Example 2: mm. 56-84, B section, in a grotesque mood using low register of the piano and transformed motives from A section with rhythmic displacement.
Example 1: A section, mm. 24-41, climax in middle of section followed by new melodic idea.
Example 2: B section, mm. 56-66, with conflict between consonant intervals and tritones.
Example 3: varied return of C section, mm. 247-265, with ostinato now on Bb.
Silence of the Old Castle
Example 1: A section, mm. 1-14, with motives on three pitches (C#-G#-A) supported by drones in lower saxophones.
Example 2: reworking of C material in mm. 172-188, showing staccato and accented ideas leading to the animated conclusion.
Example 1: A section, mm. 1-40, with ostinato, dyads, and structural pitches G-A-D-E.
Example 2: C section, mm. 185-209, with short ideas spanning large ranges and repetitive figures in each instrument.
Images of Sae-ya sae-ya
Example 2: mm. 1-15, with clashing fifths in strings and woodwind lines reflecting the structural intervals of sae-ya sae-ya.
Example 3: section two, mm. 78-100, with more obvious references to sae-ya sae-ya leading to a complete statement of the folk song.
Example 4: concluding section, mm. 150-166, with modified fragments of sae-ya sae-ya and dissonant sonorities.