English Bio
Korean composer Yejin Kwon, currently based in Montreal, boasts a rich and diverse musical repertoire that spans orchestral, traditional Korean, and electronic music. She began her musical journey at an early age, learning the mesmerizing melodies of traditional Korean folk songs, the gayageum, Korea's signature stringed instrument, and the piano.
Kwon's musical palette is expansive, drawing from classical and jazz to world music and the vibrant tapestry of Korean traditions. She honed her classical skills at the University of Dankook in Seoul, South Korea, under the tutelage of Hyunsoo Jung, before immersing herself in contemporary music training at the Conservatoire à rayonnement régional de Paris under the guidance of Édith Canat de Chizy. Presently, she is pursuing a master's degree at the University of Montreal, specializing in composition and sound creation under François Xavier-Dupas. These diverse academic ventures have broadened her artistic vistas, enabling her to craft a unique musical style that seamlessly melds Eastern and Western traditions.
Kwon's artistic prowess transcends conventional boundaries as she skillfully interweaves elements of jazz, pop, and Korean traditional music into her compositions. Proficient in composing for both acoustic and electronic instruments, she consistently pushes the boundaries of musical innovation.
In 2022, Kwon's talent garnered recognition as she was honored as one of the recipients of the Support for Emerging Artists' Creative Activities by the Seoul Foundation for Arts and Culture for her orchestral works. She released of her debut orchestral album, "BIBLOTECA," in September 2022.
Subsequently, in January 2024, she was handpicked as one of the emerging young composers for the Composer Institutes at the Winnipeg New Music Festival. Her orchestral piece "White-Clad" earned widespread acclaim when it debuted at the festival, performed by the Winnipeg Symphony Orchestra. She continues to pursue her passion for creating and performing orchestral works.
Currently residing in Montreal, Kwon's creative journey, seamlessly blends her cherished memories of Korean traditional music, classical compositions, and electronic elements. In her own words, she is steadfastly journeying towards remarkable artistic accomplishments, transcending myriad layers of creative expression.
French Bio
La compositrice coréenne Yejin Kwon, actuellement établie à Montréal, possède un répertoire musical riche et diversifié qui englobe la musique orchestrale, la musique coréenne traditionnelle et la musique électronique. Elle a commencé son parcours musical dès son plus jeune âge, en apprenant les mélodies envoûtantes des chansons folkloriques coréennes traditionnelles, le gayageum, l'instrument à cordes typique de la Corée, et le piano.
La palette musicale de Mme Kwon est très large, allant du classique au jazz en passant par la musique du monde et la vibrante tapisserie des traditions coréennes. Elle a perfectionné ses compétences classiques à l'Université de Dankook à Séoul, en Corée du Sud, sous la tutelle de Hyunsoo Jung, avant de se plonger dans la musique contemporaine au Conservatoire à rayonnement régional de Paris, sous la direction d'Édith Canat de Chizy. Elle poursuit actuellement une maîtrise à l'Université de Montréal, spécialisée en composition et création sonore sous la direction de François Xavier-Dupas. Ces diverses activités académiques ont élargi ses horizons artistiques, lui permettant de créer un style musical unique qui fusionne harmonieusement les traditions orientales et occidentales.
Les prouesses artistiques de Mme Kwon transcendent les frontières conventionnelles, car elle mêle habilement des éléments de jazz, de pop et de musique traditionnelle coréenne dans ses compositions. Maîtrisant la composition pour des instruments acoustiques et électroniques, elle repousse sans cesse les limites de l'innovation musicale.
En 2022, le talent de Kwon a été reconnu par la Fondation de Séoul pour les arts et la culture, qui lui a décerné le prix "Support for Emerging Artists' Creative Activities" pour ses œuvres orchestrales. Elle sort son premier album orchestral, "BIBLOTECA", en septembre 2022.
Par la suite, en janvier 2024, elle a été choisie comme l'un des jeunes compositeurs émergents pour les Composer Institutes du Winnipeg New Music Festival. Sa pièce orchestrale "White-Clad" a été largement acclamée lors de sa première au festival, interprétée par l'Orchestre symphonique de Winnipeg. Elle poursuit sa passion pour la création et l'interprétation d'œuvres orchestrales.
Résidant actuellement à Montréal, le parcours créatif de Mme Kwon mêle harmonieusement ses chers souvenirs de musique traditionnelle coréenne, de compositions classiques et d'éléments électroniques. Selon ses propres mots, elle est en route vers des réalisations artistiques remarquables, transcendant une myriade de couches d'expression créative.
List of Works
1. Flow (2021) for Korean traditional chamber orchestra and piano, ca. 4’
2. Biblioteca for Orchestra (2021-2022), ca. 5’
3. HongJeoSoRyun for Korean traditional chamber orchestra and piano (2022), ca. 6’
4. YooHaengGa for Korean traditional instruments and Electro-acoustic (2023), ca. 5’
5. White-Clad for Orchestra, ca. 5’30’’
6. Tantara for Orchestra, ca. 9’40’’
7. Blue Bird for Gamelan ensemble (2024), ca. 5’30’’
Orchestral
1.Biblioteca for Orchestra (2021-2022) — ca. 15’
Summary: 2(picc). 2(E.hn).2.2/422(b.trb.)1/timp.+3perc./hp./pf./str.
Percussion 1 : Marimba, Xylophone, Glockenspiel
Percussion 2 : Snare drum, Bass Drum. Cymbal,
Percussion 3 : Triangle, Chime
Introduction:
Released album in 2022. September
I started working on this album, called Biblioteca, after being inspired by the idea of an intimate old library belonging to an elderly man.
The library is in a dark room with a fireplace and a large window. Outside, snow is gently falling. I am deeply moved by the scene, imagining the boundless individual, shaped by the moments of rapture and agony in his life, imagining the complexity and conflict between the individual and the group disappearing like wood turned to ashes in the fire.
This imaginary library is a treasure of civilization that archives studies of history, culture, science and nature, weaving a musical motif in my mind that inspired me to compose Biblioteca for Orchestra.
Biblioteca for Orchestra consists of two parts - Part 1 is Biblioteca and Part 2 is Musica.
Part 1 - Biblioteca (6'2")
This part reflects the composer's impression of the magnificent library and its collection of knowledge, culture and civilization.
Part 2 - Musica (7'21")
This part reflects the composer reading the scores of other artists in the music section of the library. I would like to end this part as if I were composing my music by reading the novel and poem-like music of great composers such as Debussy, Chopin, Ravel, Gershwin, Prokofiev and Bartok, whom I deeply love and respect, and adding my tone to them. In fact, Musica was created after I was inspired by the office of a conducting professor in Montréal, which was full of scores.
Paper, dust, ashes.
A chandelier hangs from the high ceiling like the anchor of a ship.
The lingering smell of brass and old wood.
Endless shelves of books.
Pages yellowed with age.
How much can I learn and experience in this timeless place?
With this piece I hope to give those who listen a glimpse into the world of this magical library, where silence reigns and time stands still.
2.White-clad (2023) — ca.5’ 30’’
Summary: 2(picc). 2.2.2/422(b.trb.)1/2perc./str.
Percussion 1. Cymbal, Suspended cymbal, Snare drum
Percussion 2. Bass drum
Introduction:
World premiered by Winnipeg Symphony Orchestra in 2024. January.
While completing the second movement of my orchestral piece "Biblioteca, 2022" I heard a Korean yet majestic sound echoing in my heart. Obsessed with this essential connection to my artistic roots, I sought to express this sonic revelation, and in July 2023, "White-clad" was born.
The title "White-clad" recalls the Joseon Dynasty (1393-1910). It means a Korean who wears white clothes. The color white, which is rooted in the sun and body beliefs of Korean folk religion, has cultural significance.
In modern times, the diversity of Korean individuals has surpassed traditional norms. With White-clad, I wanted to transcend this historical symbolism and orchestrate a musical journey that transitions from white to a spectrum of vibrant colors through a captivating palette of orchestral instruments.
This work is a musical self-portrait that reflects my identity as a Korean composer educated in France and Canada. It contains a dual narrative of the Westernization of Korean traditional music and the Orientalization of Western musical elements. In essence, "White-clad" becomes a harmonious convergence of cultural influences, reflecting the evolving tapestry of my artistic identity.
3.Tantara for Orchestra (2024) — ca.9’40’’
Summary : 3(picc). 3(corA).3(b.cl.).3(cbsn)/43(picc.trp)31/timp.+3perc./hp/pno/str.
Percussion 1. Tamtam, Cymbal, Suspended Cymbal
Percussion 2. Bass Drum, Snare Drum, Tambourine
Percussion 3. Ratchet, Triangle, Tubular Bell, Glockenspiel
Introduction:
The title 'Tantara' is an English onomatopoeia meaning the sound of blowing a trumpet or blowing a trumpet. The term, unfamiliar to English speakers, was introduced to Koreans at U.S. military bases in Seoul after the Korean War in 1950, where it became associated with musicians playing jazz, pop songs, and other popular songs for U.S. troops. Over time, it developed into a term used in Korea to refer to musicians or entertainers who play this type of music.
My orchestral piece 'Tantara' is dedicated to each and every musician called 'Tantara' who goes unnoticed and unappreciated due to preference for popular music, lack of elite education, and various other reasons.
As I completed the work, I was surprised at the way it went beyond simple external expressions and delved into my personal history. My advocacy for ‘Tantara’ comes from my past experiences.
As a child, music introduced me to many legends and sparked my dream of becoming a composer. From classical to pop, jazz, film scores, and traditional Korean music, each genre has contributed to my evolving passion.
In the grand atmosphere of the work, I asked, “So what?” I want to defend <Tantara> with words that have the same resonance. and “Why not?”
As a composer, I am still working hard to pursue my artistic career, but whenever times are difficult to me, I feel immeasurable happiness when I think of the great pop musicians and legends who have passed away. I want to say this through this work, “Tantara“ for Orchestra. “Listen everybody. Tantara, they are truly amazing.
Korean traditional ensemble
1. Flow (2021) for Korean traditional chamber orchestra and piano, ca. 4’
Instrumentation: 1 Daegeum Flute, 1 Haegeum Fiddle, 2 Gayageum Zithers, 1 Geomungo Zither, 1 percussion of Samulnori instruments, 1 Electric guitar, 1 Bass guitar, 1 Cello, 1 Piano
Instruction
This piece resonates deeply with me, echoing elements of my own style and passion. It embodies the soothing melodies and comforting rhythms that speak to my soul. I envision crafting my first Korean traditional music album someday, with this composition as its cornerstone. Within this creation, I've endeavored to infuse subtle yet profound intricacies beneath its seemingly simple façade. Just as the title suggests, our hearts, akin to leaves adrift on a gentle stream, journey endlessly towards new horizons and discoveries. I believe this work will remain a source of solace and joy for me until my aspirations as an artist are fully realized.
2. HongJeoSoRyun for Korean traditional chamber orchestra and piano (2022), ca. 6’
Instrumentation: 1 Piri Flute, 1 Soprano, 1 Gayageum Zither with 24 strings, 1 Haegeum Fiddle, 1 DaeAjaeng, 1 SoAjaeng, 2 percussionists of samulnori instruments, 1 Piano.
Instruction
Commissioned by Suwon Korean traditional ensemble.
This work expresses 'Hwahonggwanchang (華虹觀漲)', one of the eight landscapes of Suwon, which represents the history, culture, and beautiful natural environment of the city of Suwon, South Korea.
When water flows from the seven spouts of Hwahong Gate, the spectacular sight of the spray is called 'Hwahonggwanchang (華虹觀漲)'.
A powerful and cheerful stream of water expresses the feeling of passing through Hwahong Gate, and the vibrancy of the city and the energy of happy and joyful people are expressed together by a comfortable and cheerful Gyeonggi folk song singer and traditional instrumentalists.
Balinese traditional ensemble
1. Blue Bird for Gamelan ensemble (2024), ca. 5’30’’
Instruction:
Commissioned by Atelier Gamelan
This work is "Blue Bird” for traditional Balinese gamelan ensemble, composed by borrowing the melody of the Korean folk song "Bird, Bird, Bluebird". The composition, which began with curiosity about what it would be like when a traditional Korean folk song was sung with traditional Balinese instruments, was reborn as cheerful and powerful music when combined with gamelan instruments that produce strong and striking sounds. Korean folk song, "Bird, Bird, Bluebird" is an interesting and witty piece for both those who know it and those who don't.
Electro-acoustic
1. YooHaengGa for Korean traditional instruments and electro-acoustic (2023), ca. 5’
Instrumentation: 2 Daegeum Flutes, 1 Yanggeum Zither, 2 Gayageum Zithers, 2 percussionists of samulnori instruments.
My musical and academic background includes the study of classical and contemporary music composition at various institutions in Seoul and Paris, and my creative work is currently based in Montreal. Despite this international journey, my Korean heritage remains a constant influence, grounding my emotional expression in the rich tapestry of Korean traditional music.
In my compositions entitled "YooHaengGa”, which means "Popular Song" I draw on a variety of musical influences, from classical and contemporary compositions to traditional Korean music and electro-acoustic genres. A particularly interesting experimental interest in this work is the use of the daegeum piri, a traditional Korean instrument.
Often compared to a Western flute, the daegeum piri's unique tone and resonance adds a captivating charm to every note, making even simple melodies enchanting. The rich tones of the gayageum and yanggeum zithers combined with electronic enhancements create a harmonious fusion. Thanks to this collaborative interaction, the piece captivates the listener and the acoustic space with its dynamic energy.
Discography
Digital Release: “BIBLIOTECA for Orchestra” (2022)