Korean traditional music concert with 조선 풍류정 Joseon Punglyu Jeong at Clothworkers Centenary Concert Hall, Leeds on Thursday 13th June 2024

Please note: This concert is in the past and has already taken place.

Korean traditional music concert with 조선 풍류정 Joseon Punglyu Jeong

Add to my Calendar 13-06-2024 19:00 13-06-2024 21:00 36 Korean traditional music concert with 조선 풍류정 Joseon Punglyu Jeong 초수대엽 Chosudaeyeop is understood as the "first song" in Gagok, a traditional vocal music form. Gagok consists of singing Sijo poetry accompanied by a string ensemble called "Julpungryu." It is divided into songs for male and female voices and categorized into two modes: major and minor (Ujo and Gyemyeonjo). It has been traditionally preserved mainly among the literati of the Joseon Dynasty. The poem "Dongchangi" featured in this piece describes the simple life of the rural countryside and was written by Namguman (1629-1711) during the reign of King Sukjong. It is one of the most popular pieces in the Namchang (male) Gagok Ujo Chosudaeyeop repertoire.   춘앵전 Chunyeonjeon, a court dance from the Joseon Dynasty (1392-1897), depicts a small and charming oriole singing on a willow branch in the spring. It was created by Crown Prince Hyomyeong in 1828 for the 40th birthday of his mother, Queen Sunwon, the 23rd queen of Joseon. The dancer, dressed in yellow to represent the color of the oriole and adorned with a red belt, performs alone on a flower-embroidered Hwamunseok (floral mat). The dance gracefully expresses the movements of the oriole in a small and restrained manner, suitable for the limited space of the Hwamunseok. As the music quickens, the most beautifully rated movement is known as "Hwajeontae," where the dancer gently pulls their arms back and smiles quietly.  영신 희문 Yeongsin huimu is part of Jongmyo Jeryeak, which is music performed during rituals at the Jongmyo Shrine, which houses the ancestral tablets of the kings of the Joseon Dynasty. The music celebrates the literary and martial achievements of the past kings through two suites, Botaepyeong and Jeongdaeeop, each consisting of eleven pieces. The songs performed are called 악장 Akjang, and the accompanying dance is known as 일무 Ilmu, which includes two types, 문무 Munmu (the virtue of scholarship) for Botaepyeong and 무무 Mumu (the virtue of a warrior) for Jeongdaeeop. Originally created for royal banquets during King Sejong's reign, these pieces have been used in Jongmyo Jeryeak since the reign of King Sejo and have been transmitted to the present day. It is currently designated as South Korea's cultural heritage and was listed as a UNESCO Intangible Cultural Heritage of Humanity in 2001. The lyrics sung by the vocalist express the following: "May the virtue of our ancestors open the way for us descendants, Ah, thinking of their grace and the blessings bestowed shines bright, We respectfully offer this pure ritual, Grant us ease and fulfill our wishes."   대금 상령산풀이와 청송곡 Cheongsonggok. The Cheongsonggok is a variation of the Taepyeongga, one of the pieces from the Chosudaeyeop which performed earlier today. These two pieces are indicators of a daegeum player's skill, allowing for improvisation based on the performer's capabilities. Performers can freely express their own interpretations of the pieces. Particularly with Cheongsonggok, it is said that "no two performances of Cheongsonggok are the same," reflecting the unique rendition each player brings based on their interpretation.   ~ INTERVAL ~   영산회상 중 단회상 Danhoesang from Yeongsanhoesang Yeongsan Hoesang is an instrumental suite composed of several movements. It is traditionally transmitted in three versions based on the instrumental arrangement or musical scale: String Yeongsan Hoesang, wind Yeongsan Hoesang, and Pyeongjo Hoesang. The original form, string Yeongsan Hoesang, comprises nine pieces: Sangryeongsan, Jungryeongsan, Seryeongsan, Garakdeuri, Samhyeondodeuri, Hahyeondodeuri, Yeombuldeuri, Taryeong, and Gunak, primarily performed in the scholars' private chambers for cultural and musical enrichment. Performers could choose to play all nine pieces consecutively, select individual pieces, or perform a few in sequence. The flexibility of ensemble and solo formats allows for varied performance styles depending on the situation. A shorter version called Danhoesang highlights key features of each piece from the larger Yeongsan Hoesang suite, offering a condensed representation of each movement's characteristics. The rendition of Yeongsan Hoesang (Danhoesang) being performed today transitions from a Seak (세악, small-scale ensemble with one musician per instrument) to a Hab-ak (합악, large-scale ensemble with multiple musicians per instrument), enriching the delicate melodies with a more robust texture. This music, traditionally played by Korea's middle class and aristocracy, was not intended for public performance but was a cultivation of respect, self-discipline, and emotional refinement through the art of music   산조 Sanjo is a type of instrumental solo performance accompanied by the janggu (a traditional Korean drum). The term "sanjo" means "scattered melody," which reflects its origins in improvisation, freedom, and sinawi (traditional Korean improvisational music). It developed by integrating rhythmic patterns from pansori (a Korean genre of musical storytelling). Sanjo began with the gayageum (a traditional Korean zither) and has since expanded to include versions for geomungo (a traditional Korean zither-like instrument), daegeum (a large bamboo flute), haegeum (a traditional Korean fiddle), piri (a traditional Korean oboe), and ajaeng (a traditional Korean bowed zither). Artistically, sanjo represents a blend of various melodic styles and rhythmic patterns, typically progressing through a series of increasingly faster rhythms such as jinyangjo, jungmori, jungjungmori, and jajinmori. This progression showcases a dynamic structure of tension and release, capturing the essence of elegance through contrast. Performers express their personal emotions through the music, which can vary in intensity and style depending on their feelings, thus adding an element of spontaneity. During performances, audience participation is common with exclamations like "Johta!" (good!) and "Eolssigu!" (bravo!) to encourage and complete the performance, making it a collaborative and interactive experience. 아리랑 Arirang, a song universally known among Koreans, is an iconic piece of music that was sung during the difficult times of Japanese occupation in the 1920s. Unlike traditional Korean music, which typically ends on the sol (G) note, Arirang interestingly concludes on do (C), reflecting its basis on Western musical scales which became known to Korea at that time. The prominence of Arirang was further amplified with the release of the 1926 film titled "Arirang," which featured the song as part of its soundtrack. This film, representing the painful period of occupation, helped popularize the song across the country as it was shown in various regions. Starting from the Gangwon province and spreading southward, different versions of "Arirang" emerged throughout Korea. The song's format allows for lyrics to be easily adapted, enabling singers to express their personal emotions candidly. Arirang holds a special place not only in Korea but also among Koreans living abroad, evoking a sense of homeland. In recognition of its cultural significance, Arirang was inscribed on the UNESCO Intangible Cultural Heritage list in December 2012.    About the performers  Joseon Punglyu Jeong, composed of former concertmasters at the National Gugak (Korean traditional music) Centre, engages in various activities aimed at preserving traditional culture and developing new cultural content in Korea. These activities include exploring the region's history and cultural heritage, creating cultural content, performing as a form of talent donation, and providing young artists with opportunities to perform and generate employment. Joseon Punglyu Jeong will showcase the essence of traditional Korean music, encompassing both Jeongak (Court Music) and folk music.        Advice: Lee Yun Jung  Lecturer at Gyeongin National University of Education  Expert member of the Seoul Intangible Cultural Heritage Committee  Former cultural heritage commissioner of Gyeonggi Province  Clothworkers Centenary Concert Hall, Leeds DD/MM/YYYY

Details

Clothworkers Centenary Concert Hall
The School of Music
University of Leeds
Leeds
LS2 9JT
England

Thursday 13th June 2024
7:00 PM

Programme

Traditional Korean – 초수대엽 Chosudaeyeop
Traditional Korean – 춘앵전 Chunyeonjeon
Traditional Korean – 영신 희문 Yeongsin huimun
Traditional Korean – 대금 상령산풀이와 청송곡 Cheongsonggok
Traditional Korean – 영산회상 중 단회상 Danhoesang
Traditional Korean – 산조 Sanjo
Traditional Korean – 아리랑 Arirang

Performers

Joseon Punglyu Jeong – Conductor

Programme Note

초수대엽 Chosudaeyeop is understood as the "first song" in Gagok, a traditional vocal music form. Gagok consists of singing Sijo poetry accompanied by a string ensemble called "Julpungryu." It is divided into songs for male and female voices and categorized into two modes: major and minor (Ujo and Gyemyeonjo). It has been traditionally preserved mainly among the literati of the Joseon Dynasty. The poem "Dongchangi" featured in this piece describes the simple life of the rural countryside and was written by Namguman (1629-1711) during the reign of King Sukjong. It is one of the most popular pieces in the Namchang (male) Gagok Ujo Chosudaeyeop repertoire.

춘앵전 Chunyeonjeon, a court dance from the Joseon Dynasty (1392-1897), depicts a small and charming oriole singing on a willow branch in the spring. It was created by Crown Prince Hyomyeong in 1828 for the 40th birthday of his mother, Queen Sunwon, the 23rd queen of Joseon. The dancer, dressed in yellow to represent the color of the oriole and adorned with a red belt, performs alone on a flower-embroidered Hwamunseok (floral mat). The dance gracefully expresses the movements of the oriole in a small and restrained manner, suitable for the limited space of the Hwamunseok. As the music quickens, the most beautifully rated movement is known as "Hwajeontae," where the dancer gently pulls their arms back and smiles quietly.

영신 희문 Yeongsin huimu is part of Jongmyo Jeryeak, which is music performed during rituals at the Jongmyo Shrine, which houses the ancestral tablets of the kings of the Joseon Dynasty. The music celebrates the literary and martial achievements of the past kings through two suites, Botaepyeong and Jeongdaeeop, each consisting of eleven pieces. The songs performed are called 악장 Akjang, and the accompanying dance is known as 일무 Ilmu, which includes two types, 문무 Munmu (the virtue of scholarship) for Botaepyeong and 무무 Mumu (the virtue of a warrior) for Jeongdaeeop. Originally created for royal banquets during King Sejong's reign, these pieces have been used in Jongmyo Jeryeak since the reign of King Sejo and have been transmitted to the present day. It is currently designated as South Korea's cultural heritage and was listed as a UNESCO Intangible Cultural Heritage of Humanity in 2001. The lyrics sung by the vocalist express the following: "May the virtue of our ancestors open the way for us descendants, Ah, thinking of their grace and the blessings bestowed shines bright, We respectfully offer this pure ritual, Grant us ease and fulfill our wishes."

대금 상령산풀이와 청송곡 Cheongsonggok. The Cheongsonggok is a variation of the Taepyeongga, one of the pieces from the Chosudaeyeop which performed earlier today. These two pieces are indicators of a daegeum player's skill, allowing for improvisation based on the performer's capabilities. Performers can freely express their own interpretations of the pieces. Particularly with Cheongsonggok, it is said that "no two performances of Cheongsonggok are the same," reflecting the unique rendition each player brings based on their interpretation.

~ INTERVAL ~

영산회상 중 단회상 Danhoesang from Yeongsanhoesang Yeongsan Hoesang is an instrumental suite composed of several movements. It is traditionally transmitted in three versions based on the instrumental arrangement or musical scale: String Yeongsan Hoesang, wind Yeongsan Hoesang, and Pyeongjo Hoesang. The original form, string Yeongsan Hoesang, comprises nine pieces: Sangryeongsan, Jungryeongsan, Seryeongsan, Garakdeuri, Samhyeondodeuri, Hahyeondodeuri, Yeombuldeuri, Taryeong, and Gunak, primarily performed in the scholars' private chambers for cultural and musical enrichment. Performers could choose to play all nine pieces consecutively, select individual pieces, or perform a few in sequence. The flexibility of ensemble and solo formats allows for varied performance styles depending on the situation. A shorter version called Danhoesang highlights key features of each piece from the larger Yeongsan Hoesang suite, offering a condensed representation of each movement's characteristics. The rendition of Yeongsan Hoesang (Danhoesang) being performed today transitions from a Seak (세악, small-scale ensemble with one musician per instrument) to a Hab-ak (합악, large-scale ensemble with multiple musicians per instrument), enriching the delicate melodies with a more robust texture. This music, traditionally played by Korea's middle class and aristocracy, was not intended for public performance but was a cultivation of respect, self-discipline, and emotional refinement through the art of music

산조 Sanjo is a type of instrumental solo performance accompanied by the janggu (a traditional Korean drum). The term "sanjo" means "scattered melody," which reflects its origins in improvisation, freedom, and sinawi (traditional Korean improvisational music). It developed by integrating rhythmic patterns from pansori (a Korean genre of musical storytelling). Sanjo began with the gayageum (a traditional Korean zither) and has since expanded to include versions for geomungo (a traditional Korean zither-like instrument), daegeum (a large bamboo flute), haegeum (a traditional Korean fiddle), piri (a traditional Korean oboe), and ajaeng (a traditional Korean bowed zither). Artistically, sanjo represents a blend of various melodic styles and rhythmic patterns, typically progressing through a series of increasingly faster rhythms such as jinyangjo, jungmori, jungjungmori, and jajinmori. This progression showcases a dynamic structure of tension and release, capturing the essence of elegance through contrast. Performers express their personal emotions through the music, which can vary in intensity and style depending on their feelings, thus adding an element of spontaneity. During performances, audience participation is common with exclamations like "Johta!" (good!) and "Eolssigu!" (bravo!) to encourage and complete the performance, making it a collaborative and interactive experience.

아리랑 Arirang, a song universally known among Koreans, is an iconic piece of music that was sung during the difficult times of Japanese occupation in the 1920s. Unlike traditional Korean music, which typically ends on the sol (G) note, Arirang interestingly concludes on do (C), reflecting its basis on Western musical scales which became known to Korea at that time. The prominence of Arirang was further amplified with the release of the 1926 film titled "Arirang," which featured the song as part of its soundtrack. This film, representing the painful period of occupation, helped popularize the song across the country as it was shown in various regions. Starting from the Gangwon province and spreading southward, different versions of "Arirang" emerged throughout Korea. The song's format allows for lyrics to be easily adapted, enabling singers to express their personal emotions candidly. Arirang holds a special place not only in Korea but also among Koreans living abroad, evoking a sense of homeland. In recognition of its cultural significance, Arirang was inscribed on the UNESCO Intangible Cultural Heritage list in December 2012.

About the performers

Joseon Punglyu Jeong, composed of former concertmasters at the National Gugak (Korean traditional music) Centre, engages in various activities aimed at preserving traditional culture and developing new cultural content in Korea. These activities include exploring the region's history and cultural heritage, creating cultural content, performing as a form of talent donation, and providing young artists with opportunities to perform and generate employment. Joseon Punglyu Jeong will showcase the essence of traditional Korean music, encompassing both Jeongak (Court Music) and folk music.

Advice: Lee Yun Jung

Lecturer at Gyeongin National University of Education

Expert member of the Seoul Intangible Cultural Heritage Committee

Former cultural heritage commissioner of Gyeonggi Province

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