30. March 2012

Klangraum Krems Minoritenkirche

Ensemble PHACE & KOREAN MUSIC PROJECT Composers’ portrait Younghi Pagh-Paan & Klaus Huber

Podium discussion about “musical peace activism”
with Klaus Huber, Younghi Pagh Paan and DDr Paul M Zulehner
Host: Rainer Lepuschitz

Ensemble PHACE: Simeon Pironkoff (conductor), Theresa Dlouhy (soprano), Sylvie Lacroix (flute), Markus Sepperer (oboe), Walter Seebacher (clarinet), Gunter Schneider (guitar), Ivana Pristasova (violin), Petra Ackermann (viola), Roland Schueler (cello)
KOREAN MUSIC PROJECT: Hyosun Kang (piri), Najung Jin (gayageum), Gilong Chae (daegeum), Sori Choi (percussions)


The married couple Klaus Huber and Younghi Pagh-Paan is composing against a world of conflicts and wars, the destruction of nature and cultures. “We do things,” Huber says about mankind, “the consequences of which cannot fully be projected. If our doing was really linear and verifiable in a positivistic sense, analyzable and explicit, art would not go as deep as it actually does.” “In the depth or in the dark we not only find horror and death,” says Pagh-Paan, “but also salvation and light.”

Huber’s and Pagh-Paan’s compositions contain strong visions of a high ethical endeavor. From amidst the cycle of violence and inhumanity the two composing musicians send out sounds of reconciliation and peace, yet also of resistance against injustices. Swiss-born Huber and South Korean-born Pagh-Paan, who have lived together in Germany and Italy for years, musically plunge into their cultures and the spiritual and religious worlds between the Far East and the West.

In the chamber music piece “Wundgeträumt” (“Dreamed sore”) Pagh-Paan takes up a word from a poem of the philosopher Byung-Chul Han, another South Korean living and working in Germany today. Pagh-Paan confronts Western society that does not include the subjective and private dream into reality with a musical image. Dreams spread as virtual sensations: “Far Eastern perception unites dream, life and death, reality and creation to an entirety.”
Klaus Huber composed “Raue Pinselspitze”—in the Minorite Church performed in a version for violoncello and the Korean drum buk—on occasion of the 75th birthday of the by now late Korean composer Isang Yun for the “courage and relentless perseverance of a fighter who wouldn’t stop until the cultural origins of his personal history and the enlightenment of the Western musical education resolve themselves in a comprehensive form of humanism.”
Again, in Huber’s piece “Ein Hauch von Unzeit III” the instrumentation of two cultures co-sound in this performance of the Austrian new music ensemble PHACE and the KOREAN MUSIC PROJECT. “The un-time reveals itself in the intervals, in the fact that no counting is done, in the calm inhaling and exhaling, and in the fact that the music ends in silence.”

22.- / 20.-

By the friendly support of
KAMS (Korea Arts Management Service)

© Promotionfoto

© Promotionfoto