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‘Gayageum’ master Hwang plays for foreigners
By Lee Hyo-won, Park Sung-hee
Hwang Byung-ki, master interpreter of the 12-string Korean zither “gayageum,” reached out to local foreign residents Friday, by showcasing compositions that delicately interweave Eastern and Western traditions.
Some 300 concertgoers relatively new to “gugak” (Korean traditional music) gathered for the performance at the Seoul Namsan Gugakdang, Chungmuro. Titled “Different but the Same,” the event marked the 20th anniversary of the Korea Foundation, a government-affiliated organization devoted to academic and cultural exchanges.
The 75-year-old musician opened the evening with “Chimhyang-moo” (Dancing Among Incense), a solo piece that captures Western exoticism through melodic arpeggios and “hwimori,” a whirlwind pretissimo rhythm. “Janggu” (double-sided drum) player Kim Jung-soo provided the beats.
Before presenting his other signature compositions, Hwang took the time to introduce the audience to the traditional Korean instruments featured in the performance.
The artistic director of the National Orchestra of Korea compared the zither to its Japanese and Chinese counterparts, the “koto” and “guzheng,” respectively. “In Korea, the gayageum is played with the fingertips. Therefore, there is much more intimacy and bodily contact between the player and the instrument.”
When some of the more technical details were incorrectly interpreted, Hwang, who had been a visiting scholar at Harvard University, spoke in English with Korean translations, all the while not forgetting to add a bit of humor.
“The janggu is known for its slim waist and figure, and reminds one largely of an hourglass seen every day on your computer (when you’re waiting for it to boot),” said Hwang, igniting much laughter from the crowd.
The maestro’s disciples went on to present “The Clock Tower,” a three-part piece for the modernized 17-string gayageum, and “Hamadan,” a piece inspired by a poem by renowned Buddhist monk Ven. Hyeondam and named after an ancient Persian city.
Violinist Lee Seok-jung then took the stage for a duo with gayageum artist Ji Ae-ri for “Darha Nopigom,” a neoclassical piece marked by an elegant yet dynamic interplay between the players.
The evening culminated in “New Spring,” a septet for wind and woodwind that Hwang composed in 1991. The veteran virtuoso took the stage himself for the gayageum solo, while oboist Kim Young-min, among other Western classical instrumentalists, brought a hushed dynamism to the poetic five-part piece.
William Beauvais, 55, a classical guitarist-composer from Canada, said it was his first time hearing Hwang. “I could feel his sense of strength and determination... The last two performances with the Western and traditional strings were especially enchanting.”
The musician, in town to give his own concert, compared the use of the oboe solo in “New Spring” to the Concierto de Aranjuez, the famous classical guitar piece by Spanish composer Joaquin Rodrigo.
Juang Akbar, a 24 year-old Indonesian, noted how “the tunes were new and modern yet traditional.”
Paul Matthews, a British actor who has been living in Korea for 11 years, said he had never heard the gayageum receive such a modern treatment.
“I heard the gayageum before in plays like ‘Miso’ or at the folk village, but was only aware of the sweetness (of the instrument). But here, there’s a power to it — a vibrancy, a real energy especially in the second piece (‘The Clock Tower’). The use of rhythm, the use of energy was amazing,” said Matthews, who also provides translations for the Mokhwa Repertory Company.
“I feel quite privileged I got to see him play, and got to hear his music.”
Hwang will give a concert, “Moon Jar,” at LG Arts Center on July 13. Call (02) 517-0394 for more information.
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