Gateways

In modern Seoul some of the most poignant reminders of the city’s history are found along the old fortress wall that weaves its way through neighborhoods and climbs over mountains. There once stood 8 gates along this wall, all built between 1396 and 1398. In their long history, these gates have been destroyed, rebuilt, relocated and – in some cases – forgotten. Each gate has its own unique history and its own character. During my time in Seoul, my interest in these gates grew, and they have served as the inspiration for this new musical work.

Gateways is a series of portraits, each movement depicting aspects of the various gates. The piece is structured as a journey, beginning at the familiar Dongdaemun (Heunginjimun) and moving counter-clockwise, visiting each gate in order. (Some of the gates have multiple names, but I have chosen to use the traditional names as movement titles.) The 8 gates were placed according to direction: 4 large gates were built at cardinal directions (north, east, south, west) and the 4 small gates at ordinal directions (northeast, southeast, southwest, northwest).

The large gate movements are performed by the entire ensemble, while the small gate movements are written as trios.

I. Heunginjimun
The piece begins at one of the most well-known gates, where Dongdaemun market has been located for centuries. Each musician enters one by one, creating a gradual crescendo and a shuffling, busy texture. All of this fast-paced action comes to a quick end, however, once the large gate comes into view, at which point the music becomes serene and subdued.

II. Hyewhamun
If one visits Hyewhamun today, the gate doors will most likely be shut. But if one peers between the closed doors, one will see a painted phoenix’s beautifully-ornate eye watching stoically.

III. Sukjeongmun
This is the most remote of the gates, located atop Bukgaksan mountain, and was rarely used. In fact, the gates were normally kept shut to prevent any bad energy from entering the city. The idea of energy coursing through the wall inspired this movement.

IV. Changuimun
Translating to “Showing the Correct Thing” gate, this gate is perhaps the most peaceful of those still standing. The gayageum, guitar and cello depict this serenity in harmonics, pure and clean tones.

V. Donuimun and Souimun
These are the missing gates, and today their locations are marked only with small plaques. But even through all the modern noise that clogs the area, one may still sense a memory from long ago.

VI. Sungnyemun
Sungnyemun perhaps best represents the timelessness of the gates. Destroyed by fire in 2008, it is now being rebuilt, illustrating the cycle of destruction and regeneration all the gates have undergone in their long histories. The music is filled with rising gestures, symbolizing this rebirth.

VII. Gwanghuimun
The only remaining gate through which the dead were allowed to pass, this gate is perhaps the most somber but also one of the most beautiful. It is this beauty I have chosen as my focus, and if one listens carefully one may hear the sounds of Dongdaemun in the distance, completing the circle.

Gateways is dedicated to the musicians of CMEK (Contemporary Music Ensemble Korea), for whom the work was written.