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Park Chiwan, piri; Soo Yeon Lyuh, haegeum; Yi Jiyoung, gayageum; Kim Sunok, geomungo; Kim Woongsik, janggu; Thomas Osborne, conductor
박치완, 피리; 여수연, 해금; 이지영, 가야금; 김선옥, 거문고; 김웅식, 장구; 토마스오스본, 지휘
In much of the traditional repertoire for Korean instruments, ensembles play melodies in unison, though not precisely together. In these pieces it’s as if the performers are playing different variations of a melody simultaneously, creating undulating and complex textures. In Parallel Lines I explore this same technique: The piece is almost entirely melodic, and there are many points at which the instruments play the same lines with slight variations. Over time, the instruments separate from each other, and the single melody becomes more and more distorted as the rhythmic intensity increases.
