Seoul Phil composer says no more slander
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Chin Un-suk, the Seoul Philharmonic Orchestra’s composer-in-residence, speaks at a press event to announce the lineup for the SPO’s Ars Nova series of concerts, at a restaurant in Gwanghwamun, Seoul, Monday. / Courtesy of SPO
By Kwon Ji-youn
The Seoul Philharmonic Orchestra’s (SPO) composer-in-residence has stressed that while the SPO is managed and operated in a manner that many deem unusual, no major changes should be forced onto it in light of its achievements over the last decade.
At a press event Monday, Chin Un-suk said that the last four months have been extremely difficult for her. Hardest on the heart was the degradation of the SPO’s reputation and achievements, she said.
“The SPO performs at an international standard, but the environment in which it exists has not been very supportive of late,” Chin said. “The issues we are facing are not limited to the SPO _ it’s true about almost any organization here in Korea.”
Chin recalled when she first joined the SPO. It was like starting with absolutely nothing, she said.
“But I am confident that the SPO remains one of very few organizations here that meets global standards,” she reiterated. “It can experience discord, and the public is welcome to provide constructive criticism, but it’s not fair when it becomes a personal attack or slander.”
Chin said that a lot of what was reported in the media was far from the SPO she knows, and added that the SPO is in no position to respond to such defamation, as the orchestra, since Park Hyun-jung’s resignation in December, is without a CEO. The orchestra's administrative department had called for Park's resignation, claiming that she had neglected her duties and verbally abused employees. Later music director Chung Myung-whun came under fire after an audit found him responsible for a wide range of irregularities.
“When an organization comes under attack, it is the CEO’s job to protect it, to help it speak in one voice,” Chin said. “But the position is empty. We are unable to defend ourselves, so we ask the public and the media to try to understand our hardship.”
With regards to the taxes that are used to keep the SPO afloat, Chin said that it is for the betterment and enrichment of society.
“When the city announces it will push ahead with construction on roads in one Seoul neighborhood, it’s not relevant to every citizen of Seoul,” she said. “Likewise, one person who doesn’t enjoy a specific kind of music doesn’t make the music any less important. But I am aware that there is a need for us to persuade such people with more significant achievements, and this will take time.”
In line with such efforts, the SPO will mount two “Ars Nova” performances in the next two weeks. The first “Ars Nova” series will take place on Wednesday at the Sejong Chamber Hall of the Sejong Center for the Performing Arts and the second, on April 7 at the LG Art Center.
“Ars Nova” refers to a musical style that prevailed in France and the Burgundian Low Countries in the Late Middle Ages. At times, the term is used more generally to refer to all European polyphonic music of the 14th century, thereby including figures like Italian composer Francesco Landini.
“Ars Nova Series I: Chamber Concert ‘American Mavericks’” will be helmed by SPO assistant conductor Choi Soo-yeoul, while the SPO’s very own Chung will conduct the second.
“Ars Nova Series II: Orchestral Concert ‘Meditation and Mysteries’” will feature violinist Kang Hye-sun, and the program will include Henri Dutilleux’ “Metaboles”; Pascal Dusapin’s “Aufgang ― Concerto for Violin and Orchestra”; and Olivier Messiaen’s “L’ Ascension.”
Dutilleux’ “Metaboles” is dedicated to Hungarian-born American conductor George Szell, who conducted the premiere with the Cleveland Orchestra in January 1965, and explores metamorphosis, and the subtle and gradual changes that radically transform a structure.
The first concert will feature John Cage’s “Living Room Music”; Elliott Carter’s “Wind Quintet”; Charles Ives’ “Tone Roads”; Park Myung-hoon’s “MONTA” for contrabass solo and ensemble, commissioned by the SPO; and Terry Riley’s “In C.”
John Cage’s “Living Room Music” in particular is a revolutionary piece ― the first and last movements are to be played on household objects, such as magazines, a table and books.
The SPO’s “Ars Nova” performances are the only contemporary music series being staged in Korea, and will give the SPO a chance to prove that it truly deserves the reputation it has earned “for championing more new music than any other major Asian orchestra,” as a writer for the Los Angeles Times once commented.
This year will mark the ninth anniversary of the SPO’s “Ars Nova” series and the 10th anniversary of the SPO’s incorporated foundation.