Isang Yun is undoubtedly
the most important composer to have
emerged from Korea during the second
half of the 20th Century.
He studied with Boris Blacher who made
him aware of modern techniques, such
as twelve-tone and serial writing; these
Yun adopted without ever strictly adhering
to them. His music is rooted in classical
Korean music, of which we know very
little, whereas its formal framework
is often found in 20th century
music. Although some of his earlier
pieces are more experimental or more
overtly "modern", Yun steered
clear of strict serial practice, and
allowed his deeply rooted lyricism to
flower freely. Besides five symphonies
and several substantial concertos that
– to my mind – are the real backbone
of his large output, Yun composed a
huge amount of chamber music. This is
for varied instrumental forces, as the
works recorded here and spanning almost
twenty years amply demonstrate.
The earliest work here
Trio for violin, cello and piano
is in two ternary sections, of which
the first was composed as part of a
collective tribute to Boris Blacher
on his seventieth birthday. The second
section was added in 1975 a few months
after Blacher’s death. The first section
has two slow outer sections framing
a more animated central one, whereas
the pattern is reversed in the second
section. In the opening and closing
episodes of the first section, the strings
imitate the sound of a mouth organ with
telling results. The outer parts of
the second section are animated, with
incisive snap pizzicatos à
la Bartók, and frame a more
contemplative central episode. The Trio
is a quite beautiful work from Yun’s
mature years; much more than the occasional
work that one might have expected.
Novelette
is for flute (also alto flute) and harp
with ad libitum parts for violin
and cello (or viola). The flute is the
main protagonist, whereas the harp supplies
some rhythmic support, the ad lib
strings filling-in harmonic gaps. I
cannot imagine the piece being played
without the ad lib string parts.
This is a predominantly lyrical work
of great beauty in much the same vein
as the earlier Images
for oboe, harp, violin and cello from
1968. It deserves to be heard more often;
for this music is subtle, refined and
very accessible.
The Duo
for cello and harp is yet another convincing
example of Yun’s late lyricism. As much
of Yun’s late music, it is accessible
and mellow-toned; but it is still quite
intricately worked-out. The main expressive
weight lies in the outer movements -
the third movement is particularly beautiful
- and the mood relaxes in the dance-like
middle movement. It is also one of Yun’s
happiest works, probably because it
was composed on the occasion of his
son’s wedding.
The Violin Sonata
is a later work composed in 1991. It
is in a single movement, albeit in two
clearly delineated sections: a troubled
and tense first section and a long slower
section of great expressive beauty.
The Violin Sonata may be one of Yun’s
most personal works, one in which he
seems to recollect his earlier hardships
(remember that he was once imprisoned)
and meditate on the hard-won peace he
achieved. The music is again primarily
lyrical, even in the first section in
which tense harmonic gestures are preferred
to aggressive instrumental writing;
one is never in doubt about the emotions
behind the music.
All these musicians
obviously love the music; and their
performances are committed and serve
the music well. Recording and production
are very good too. This cross-section
of Yun’s chamber music may be safely
recommended.
Hubert Culot
for
details 
Kolja Lessing (violin)abd; Walter
Grimmer (cello)abc; Holger Groschopp
(piano)bd; Maria Graf (harp)ac;
Roswitha Staege (flute)a 
