basil eyes for piano and recorder keyboard (for one player) 
Performed here by Eunmi Ko.

basil eyes by Tyler Kline

saturation temp! by Emily Koh

Chopin Nocturne Op.27-2 in D-flat Major

Dovetail from Night Music by John Liberatore

Last movement (2023)
for soprano, saenghwang, and fixed audio

Soprano: Jamie Jordan
Saenghwang: Jisu Han

Recording: Han Lee & Eunsong Shin
Photo: Shin-joong Kim

[Project 1.5°C & 34.7°F with CAMP]
2023.8.4 ilshin hall (Seoul, South Korea)

Video link: https://www.youtube.com/watch?v=op78tSsY-gk

Last movement (2023)

The title Hueco Mundo (2023) represents the predictable future that only devastated world left beyond our time, without any material, mental wealth exist. It's unpredictable how constant climate change reverses our routine and life on our time. Probably this is an irreversible point that a lot of casualties happen through nature catastrophes. The piece for the trio is merely a fragment of a person who observing the future that cannot resist anymore with close to feelingless, nothingness. - Youshin Gim 

Live performance from Project 1.5 & 34.7 at Ilshin Hall, Seoul (world premiere)
Haegeum, Heejin Yang 양희진
Percussion, Kevin von Kampen
Piano, Eunmi Ko

Hueco Mundo by Youshin Gim

I notice climate change firsthand when I see unusual weather events, such as rainier summers or colder winters. It's been over 100 years since Arrhenius first hypothesized global warming, and the average global temperature has risen by nearly 1.5 C since then. Can the weather I experienced in ordinary years be called natural? Sometimes I've heard that my music is unnaturally flowing. This can be related to musical devices or developmental methods, such as transition, repetition, variation, and recapitulation, or it can be related to something outside of music, such as narrative or story. What does naturalness mean in contemporary music, and where can we find its criteria? Or has contemporary music already become non-linear and non-narrative? - Seokmin Mun 

Live performance from Project 1.5 & 34.7 at Ilshin Hall, Seoul, August 4 2023 

Performed here by 

violin Sini Virtanen
saxophone Katherine Weintraub
piano Eunmi Ko
Saenghwang Jisu Han
Daegeum Jiyun Song

Natural by Seokmin Mun

Steps (Dangye) outlines my interactions with the Korean language as someone who a)is not a native Korean speaker, b) watches a lot of K-Dramas, listeners to a lot of K-Pop, and watches pansori on YouTuve with English subtitles, c) has tried many times and failed many times to learn the Korean language through podcasts, books, and the language app Duolingo. In the Korean language, I hear deep expressivity, melodic nuances, fragility, tenderness, and pointed consonants with grit! - Emily Koh

Live performance from Project 1.5 C & 34. 7 F at Ilshin Hall, Seoul on August 4, 2023. 

Performed here by
Percussion Kevin von Kampen
Soprano Jamie Jordan
Baritone-saxophone Katherine Weintraub
Recorder-keyboard Eunmi Ko 
Daegeum Jiyun Song 
Baritone-haegeum Heejin Yang

Steps by Emily Koh

Eunmi Ko, piano

Ten Variations on a Leadsheet, after Victor Young's "Stella by Starlight"

I. Realization
II. Four Lines
III. One Line
IV. Run
V. Precipitato
VI. Invention
VII. Dovetail
VIII. Overlay
IX. Klang
X. Nocturne

Night Music

Ritrovare, per orchestra da camera (for large chamber ensemble) New Juilliard Ensemble, direttore  Joel Sachs

live rec. New York, Lincoln Center 9 - 20 - 14 - Peter Jay Sharp Theater

Ritrovare, per orchestra da camera

Alessandro Annunziata

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