Two Lullabies for Woodwind Quintet (2019) 
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Nr.2

Quilt #5 - A Shroud (2021)
for Orchestra
Jaegone Kim

Recorded in New England Conservatory, 12/15/2021

Quilt #5 - A Shroud

Pegasus (2022)
for ensemble

Piccolo - Zoe Cagan
Glockenspiel - Kristian Josifoski 
Violin - Maria Lakisova
Piano - Changjin Ha
Celesta - Jaegone Kim

Pegasus

Madison Greenstone (bass clarinet), Anthony Vine (electric guitar), and The La Jolla Symphony & Chorus conducted by Steven Schick

The Song of St. Bazetta (2022)

Mosquito

Capable of love

Rebecca Moranis, Flute
Lauren Conroy, Violin
Kirsten Jermé, Cello
Joseph Vaz, Piano

October 27, 2023
CUNY Graduate Center

Three Flows In Quartet (2023)

Hesitante 
for solo Piano, 2023 
Played by Keiju Takehara 
Composed by Jaegone Kim

Hesitante

Frames (Music in Three Parts)
1. Star Fossil for solo Piano
2. Garden I for String Trio
3. Quilt #4 for Percussion Ensemble

Starfossil

Composed for the Locrian Chamber Players.

Performed by members of the Locrian Chamber Players: Erin Lesser, flute, Gregory Hesselink, cello, Blair McMillen, piano, and Anna Reinersman, harp.

Live premiere performance from August of 2008, Riverside Church, NYC

Published by APNM (Association for the Promotion of New Music).

Sultry Air, Balmy Breezes was composed in 2008 for The Locrian Chamber Players at the request of its director, my Manhattan School of Music colleague David Macdonald. The excellent players were Erin Lesser, flute, Gregory Hesselink, cello, Blair McMillen, piano, and Anna Reinersman, harp. It bears a dedication to Nils Vigeland, former Chair of the Composition Department at MSM.

In its atmospheric quality and emphasis on color, both harmonic and timbral, Sultry Air, Balmy Breezes strikes me as having been influenced by many characteristics I admire in twentieth century French music by composers such as Debussy, Ravel, and Messiaen. While I could not find an appropriate French title that wouldn’t come across as pretentious, I nonetheless allowed a bit of affectation to creep in by way of using French tempo indications and expressive markings as my homage to the tradition that inspired me. The work begins with an ascending, sweeping, and rather metallic sounding gesture that combines the piano with a harp glissando that features clashing strings. Over an accompaniment of isolated harp harmonics and other discrete sounds, the flute begins a solo that eventually will climb from its sultry lowest register to the first climax of the piece, where it is supported by lush chords in the harp, piano and pizzicato cello. (The unison doubling of chords in piano and harp is one of my favorite sonorities, one that I first came to appreciate in Britten’s Cantata misericordium.) After another upward flourish in the piano and harp and a brief reminiscence of the opening material, a faster, breezier section begins, gradually acquiring its own groove, mostly in 5/8 meter. After a couple more passionate climactic passages, this section gradually begins to dissipate, and slower music (marked Modéré) takes over, initiated by a flute trill before that instrument disappears, ceding the spotlight to the solo cello, accompanied once more by the chordal cushioning of the unison piano and harp. Just before the end, the flute — marked nonchalant — returns for its final say.

—Hayes Biggs, 2019

Hesitante

Jaegone Kim

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