Im Jahr 1963 hatte Yun die Demokratische Volksrepublik Nordkorea besucht, was damals über die nordkoreanische Botschaft in Ost-Berlin möglich war.
1967 wurde Yun vom südkoreanischen Geheimdienst über die südkoreanische Botschaft in Bonn nach Seoul entführt und gefoltert. In einem Schauprozess wurde er, das prominenteste Opfer dieser „Entführung“ (in Süd-Korea verharmlosend „East Berlin Incident“ genannt), am 13. Dezember 1967 in erster Instanz zu lebenslanger Haft verurteilt, kam er nach internationalen Protesten 1969 frei, kehrte nach West-Berlin zurück, wo er und seine Frau im Jahr 1971 deutsche Staatsbürger wurden. 1972 ensteht der erste Teil des Trios zum 70. Geburstag Boris Blachers, 1975 entsteht der zweite Teil, zum Andenken an ihn.

Isang Yun (1917-1995) Klaviertrio (UA Berlin 1973)

azurite dprctd

BRIGHTER SUNS (2022) - for solo electric guitar and electronics

*IMPORTANT: you can listen to an improved version of this work following this link: juliozuniga.info/works/brighter_suns.html *


Nico Couck, electric guitar (Nadar Ensemble)
Live recording, May 21, 2022

BRIGHTER SUNS

Ríos de piedra is a piece inspired by different water shapes.

Rios De Piedra for live electronics and objects

Diese Zeiten sind vorbei... (2019)
ca. 20'00''
commissioned by the Wittener Tage für neue Kammermusik
premiered in May 2019 by the Ensemble Garage and Rie Watanabe

Diese Zeiten sind vorbei... [excerpt] (2019) music theatre

SWR Symphonieorchester
Titus Engel (conductor)

Desillusionierung (2020/21) for orchestra

UK drummer and sound artist Cameron Graham signs to Phantom Limb and debuts with EP Go Out, forging a unique and headspinning bridge between EDM, joyous calypso colour, cellular Glassian minimalism, and hyperrealist AI.

Creating his dizzying, dayglo MIDI explorations with drumkit triggers, UK musician Cameron Graham conjures a multitude of soundworlds from dense compositional structures. The music of debut EP Go Out touches on neon, videogame digitisation, the finessed, mechanical precision of IDM, even the rhythmic intensity of gamelan, whilst retaining a thrilling and wholly singular energy. The record is an electrifying experience, full of colour and bubbling with unpredictability. Combining animatronic carnival and impish fug, Cameron reins control of spinning melodic lines and frequency filters into a radiant SNES world of blissful vibrancy.

Go Out opens with "Authority Figures", bubbling with heady unpredictability (and foreshadowing the alternate take on the same track that appears on Graham’s forthcoming debut album, due for release later in 2023). Its textures - formed in wavetable synthesis triggered by live-performed percussion pads - thread and bob through hallucinogenic abstract space. As if a marching band were lost in euphoric, insubordinate abandon and had replaced their battery snares with millisecond snippets of organ chords and steel pans. “I was compelled into making the most joyful and celebratory music I could while the world was falling apart and fragmenting further and further into chaos,” Cameron tells us. “A murderous war, immediately after a pandemic, woven into an ever-more fractious and seemingly insane social and political landscape. This project was the only possible creative act in the face of abject senselessness. What was a natural response for me, is for the listeners a loud invitation to go out, to move, to melt into music, to let go.”

Go Out's textures - formed in wavetable synthesis triggered by live-performed percussion pads - thread and bob through hallucinogenic abstract space. As if a marching band were lost in euphoric, insubordinate abandon and had replaced their battery snares with millisecond snippets of organ chords and steel pans. “I was compelled into making the most joyful and celebratory music I could while the world was falling apart and fragmenting further and further into chaos,” Cameron tells us. “A murderous war, immediately after a pandemic, woven into an ever-more fractious and seemingly insane social and political landscape. This project was the only possible creative act in the face of abject senselessness. What was a natural response for me, is for the listeners a loud invitation to go out, to move, to melt into music, to let go.”

Go Out

Authority Figures

Vyeeeoo

DeepVoid (string quartet)

commissioned by Wiener Konzerthaus
first performance ensemble Interface

Primordial Soup (2019) for ensemble

Nov 15, 2017 - Salzburg, Crossroads
NAMES ensemble
Oscar Maria Jockel, cond.

Program note (in German)
Die vorbeigehende Dinge sind alles inklusiv mir selbst.
Es gab einen Moment, als es in meiner Erinnerung und Emotionen erkannt wird. Und als ich gleichzeitig ontologische Abwesenheit bemerke, spüre ich eine große schwankende Emotion. Warum doch, weil wir Menschen sind, versuche ich, das wichtige zu finden, und sehne ich mich danach, was sich in ontischer Innerlichkeit verbirgt. Aufgrund von Angst vor der Trennung, treffe ich mich manchmal nicht mit jemandem. Ich erinnere mich an die Trennung, an das Treffen und an wieder Trennung, und an die schwankende Emotionen in denselben Momenten. Es könnte so sein, dass die verschwindende Dinge von erkannten Momenten ein Wesen von Musik oder Klang selbst sind. Es ist mir eine Festlegung von Zeitraum, und gleich Auflösung, und umgekehrt. Es ist von den verschwundenen Zeiten gefangen worden, zugleich  befreit worden. Umgekehrt ist es gegenseitig. Es ist eine Darstellung des Nichtseins von Sein und umgekehrt gegenüber der üblichen Selbstverständlichkeit, dass das Sein möglich sei. Ich hoffe, sich bei der verschwundenen Dinge uninteressiert zu zeigen. Eher wäre die hässlich. Selbst wenn ich es wüsste, dass es nicht kontrollierbar ist, aber ich möchte es doch nicht akzeptieren. Ich will, dass ich von der Beschränkung der Zeitraum befreie und der emanzipierte Zeitraum verändere, um von dem ein Abschied zu nehmen. Das ist ein Grund, die Musik zu schreiben.

인지하는 순간 사라지는 것들
스쳐 지나가는 것들은 나를 포함한 모든 것들이다. 내 기억과 감정에 의해 순간 무엇인가 인지될 때가 있다. 그리고 그것의 존재론적인 부재를 동시에 느낄 때 나는 감정의 큰 동요를 느낀다. 왜 아니겠는가. 인간이기에 우리는 무엇인가 중요한 것을 찾고 갈구한다. 나는 헤어짐이 두려워 만나지 않을 때가 있다. 나는 헤어짐과 만남 또다시 헤어짐을 기억하고, 그 순간의 감정의 격정을 기억한다. 인지하는 순간 사라지는 것들은 음악의 본질일 수 있고, 소리 그 자체일 수 있다. 그것은 나에게 시공간의 확립과 동시에 해체였고 그 반대였다. 사로잡힘과 동시에 해방이었고 그 반대였다. 존재의 비존재성과 동시에 그 반대였다. 사라지는 것에 나는 차라리 무관심하길 바랐다. 차라리 그것이 추했으면 좋겠다. 컨트롤 할 수 없는 것임을 인정하고 또 그러고 싶지 않았다. 시간과 공간의 구속에서 해방되어 그것을 붙잡고도 싶었고, 다가가 작별인사라도 하고 싶었다. 그것은 이 음악을 쓴 이유이기도 하다.

disappearing things at the moment of recognition for ensemble (2017)

chanhee lim

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