Centesima Lucis

This is the Midi version of the piece. I will soon upload the recording of Infant Goddess that was premiered by Peabody Orchestra.

Program note

Somewhere on this planet, there are young girls who have been worshiped as living goddesses. Regardless of whether the girls have wanted the crown, the process of selecting the goddess itself is very tricky. Just to be considered as a candidate, the girls need to meet 32 physical conditions such as white teeth without gaps, dark eyes, long, slender arms, soft hands and feet, thighs like those of a deer, and a small and moist tongue. Only the girls who meet these 32 conditions are shifted to a hut that is full of animal carcasses and their bloodstains. The girls are made to spend a whole night inside the dark, lightless hut by themselves. Among them, the one who does not reveal her fear and who does not cry at all is finally
chosen as their new living goddess.


Young goddesses are asked to live in the temple. While the children who are the same age as the goddesses go to school, learn to socialize, and improve themselves, these young goddesses are only worshiped, sitting in a sacred chair, getting strangers' kisses on their feet. They are not allowed to talk and run. All of their behaviors are interpreted revelation.

They are raised not a human but goddess, however, it is only until when they have their first menstruation. Young goddesses who start to have menstruation are no longer regarded as a goddess. Once they start to have menstruation, they are no longer regarded as holy but impure. People who made them goddess, made them lose their statue of a goddess. However, they, who lived more than half of their lives as a goddess, have no ordinary lives to go back to since they've never had them. No one is trying to take responsibility for the lives of these young goddesses
who are now thought to be disgraced.

They cannot even dream of being married since people believe men who married the women who were once being the goddess will certainly be miserable for the rest of their lives. Some of them are also unwelcomed by their own family either.

Some expelled goddesses, therefore, had no choice but to go out on the streets and sell themselves to be survived. This piece portrays the lives of those little goddesses and the soundscape surrounding them. This piece will let you feel that the beautiful temple which once embraced them, and the beautiful clothes and makeups which once covered them, was not something sublime, but it was just a beautiful mire. I also hope you feel the tranquil brutality from the music which, I believe, is the nature of the life of a living goddess.

Hyeryung Hyun(Sally Hyun)- Infant Goddess for Orchestra

Emission Un Mardi Idéal sur France Musique (présentée par Arièle Butaux)
Flûte : Anna BESSON
Piano : Eloïse Bella-Kohn
Enregistré le 9 décembre 2011 au studio 106 de la Maison de Radio France

Guillaume Connesson - Le Rire De Saraï

“Rose” is the last scene of a larger operatic work called a grain of sand.  In this opera, a woman wakes up on a deserted beach having lost her memory.  After regaining consciousness, various objects arrive on the beach that relate to her in some way. As she inspects the objects, the woman attempts to make observations of who she may have been and what may have happened to her.  In this scene the woman has made several failed attempts at forming a conclusion about her identity and realizes through the inspiration of the beach around her that she is not a single thing but rather an amalgamation of thousands of moments and memories that are constantly changing; just as the sand changes with the tide along the shore.

Rose

A(d)vert is a collection of vignettes exploring the fantasy realms created by media and advertising.  Each section focuses on a different ad, playing with the contrast of the tone of the presentation against what is actually being said.  This piece was written for the violist Colin Sorgi for the Baltimore Symphony Orchestra Lunch Bachs series.

A(d)vert

für 6 Stimmen
"Neue Vocalsolisten" 
Stuttgart, Theaterhaus, den 06.12.2015

3 für 6 Stimmen

11- André De Sapato Novo

Unerasing (2018)
for Orchestra 

Orchestre Philharmonique de Radio France
Direction: Peter Rundel
Création: le 23 juin 2018, CentQuatre Paris, Festival ManiFeste

Unerasing (2018)

The Frog Song Armando

Written for violin, guitar, and electronics.
Commissioned the the Balagan Duo.

Orange Seas (MIDI w/o electronics)(2020)

This piece is based off of the gate-keeping and invalidation that has historically occurred in the academy. When Conrad Tao and I first began talking about this idea, it became clear that we were both lucky in that we made it into academic music and have had relatively progressive experiences and environments. However, we still hold beliefs and support movements that are against the institution. Despite constantly creating hip-hop in the contemporary world, the genre still is invalidated in front of me every day. This cognitive dissonance is what I explored when writing the piece.

Hyeryung Hyun(Sally Hyun)- Infant Goddess for Orchestra

Sally Hyun

Related tracks