Music
Yun's primary musical concern was the development of Korean music by the means of Western avantgarde music. After experimenting with 12-tone techniques Yun developed his own musical personality in his works of the early 1960s, post-serialistic "sound compositions". Yun's music employed techniques associated with traditional Korean music, such as glissandi, pizzicati, portamenti, vibrati, and above all a very rich vocabulary of ornaments. Essential is the presence of multiple-melodic lines, which Yun called "Haupttöne" ("central" or "main tones").
Yun's composition for symphonic forces started with "sound compositions", i. e. of works, in which homogeneous sound planes are articulated and elaborated: "Bara" (1960) until "Overture" (1973; rev. 1974). A period of discursively structured instrumental concertos followed, beginning with the "Concerto for Violoncello and Orchestra" (1975/76), and climaxing with the "Violin Concerto No. 1" (1981). From 1982 until 1987 he wrote a cycle of five symphonies which are interrelated, yet varied structurally. Striving for freedom and peace is above all "Symphony V" for high baritone and large orchestra (1987) with texts by Nelly Sachs. In 1984 he developed also a new, intimiate "tone" in his chamber music.
At that time peace and reconciliation on the Korea peninsula was his political goal. His lifelong concern with his native country and culture was expressed in several of his compositions, including the orchestral piece "Exemplum in Memoriam Kwangju" (1981) which he composed in memory of the Gwangju massacre and Naui Dang, Naui Minjokiyo! (My Land, My People) for soli, orchestra and choir (South Korean poets, 1987) and Angel in flames (Engel in Flammen) for orchestra with Epilogue for soprano, women's choir and five instruments (1994). Otherwise Yun himself stated often and often not being a political composer but only following the voice of his conscience.
In Europe and the US Yun had received a high reputation as composer of an avantgardistic music with elements of Korean tradition. The technical as well a stylistic difficulties of performing his very artificial and elaborate music are underestimated.
Read more about this topic: Isang Yun
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