Ominous Omnibus (2023)
Duration: 11 minutes
Instrumentation: flute, clarinet, percussion, piano, violin, and cello
Commissioners: San Diego New Music and the Korean Cultural Society of Boston
Performance History
San Diego New Music: Made in California (part of the California Festival)
Alexander "Sasha" Ishov (fl), Ariana Warren (cl), Ryan Nestor (pc), Christopher Adler (pn),
Batya MacAdam-Somer (vn), Peter Ko (vc), and Matt Kline (cond)
11/9/2023, Athenaeum Arts and Music Library, La Jolla, CA
Collage New Music - in celebration of its 50th anniversary season
2/18/2024, Killian Hall at MIT, Cambridge, MA
6/22/2024, Musicians of the Interplay program, Banff, AB, Canada
10/5/2024, Ensemble Eclat, Seoul, S.Korea
Program Notes
Ominous Omnibus for Six Players (2023) draws primary inspiration from various Dokkaebi (도깨비) folklore in Korea. Dokkaebi are mythical creatures understood as goblins (not ghosts or demons), elemental spirits, or demigods. The earliest documented Dokkaebi story is dated more than 1,000 years ago, and there are many tales and their variations. Likewise, there are different descriptions of Dokkaebi: for example, some have only one leg, some are enormous, and some look like humans. They have supernatural powers or items that allow them to do magic. Many of them are also known to be mischievous.
Various Korean folklore suggests that a Dokkaebi is created/generated from mundane objects, especially a broom (a Korean broom looks more like a broad brush made of straws, etc.). My piece reflects it by beginning with a percussion solo, in which the player brushes the drums with Korean brooms, followed by responses from other objects/sounds/characters. The music becomes more exciting, like the Dokkaebi ensemble marching into various neighborhoods. Other sections in this piece portray the pranks Dokkaebi does: making noises while being invisible, breaking household items (especially tableware), and scaring (or even wrestling with) passersby.
In this eleven-minute work, I incorporated diverse extended techniques as primary sonic materials, depicting the scenes described above and symbolizing the surreal nature of the Dokkaebi myths. Initially, I met with some performers, who kindly demonstrated a wider variety of extraordinary sounds they enjoy producing. Then, I selected sound materials that fit the narrative and built a musical (non-musical) drama interweaving the materials.
Instrumentation: flute, clarinet, percussion, piano, violin, and cello
Commissioners: San Diego New Music and the Korean Cultural Society of Boston
Performance History
San Diego New Music: Made in California (part of the California Festival)
Alexander "Sasha" Ishov (fl), Ariana Warren (cl), Ryan Nestor (pc), Christopher Adler (pn),
Batya MacAdam-Somer (vn), Peter Ko (vc), and Matt Kline (cond)
11/9/2023, Athenaeum Arts and Music Library, La Jolla, CA
Collage New Music - in celebration of its 50th anniversary season
2/18/2024, Killian Hall at MIT, Cambridge, MA
6/22/2024, Musicians of the Interplay program, Banff, AB, Canada
10/5/2024, Ensemble Eclat, Seoul, S.Korea
Program Notes
Ominous Omnibus for Six Players (2023) draws primary inspiration from various Dokkaebi (도깨비) folklore in Korea. Dokkaebi are mythical creatures understood as goblins (not ghosts or demons), elemental spirits, or demigods. The earliest documented Dokkaebi story is dated more than 1,000 years ago, and there are many tales and their variations. Likewise, there are different descriptions of Dokkaebi: for example, some have only one leg, some are enormous, and some look like humans. They have supernatural powers or items that allow them to do magic. Many of them are also known to be mischievous.
Various Korean folklore suggests that a Dokkaebi is created/generated from mundane objects, especially a broom (a Korean broom looks more like a broad brush made of straws, etc.). My piece reflects it by beginning with a percussion solo, in which the player brushes the drums with Korean brooms, followed by responses from other objects/sounds/characters. The music becomes more exciting, like the Dokkaebi ensemble marching into various neighborhoods. Other sections in this piece portray the pranks Dokkaebi does: making noises while being invisible, breaking household items (especially tableware), and scaring (or even wrestling with) passersby.
In this eleven-minute work, I incorporated diverse extended techniques as primary sonic materials, depicting the scenes described above and symbolizing the surreal nature of the Dokkaebi myths. Initially, I met with some performers, who kindly demonstrated a wider variety of extraordinary sounds they enjoy producing. Then, I selected sound materials that fit the narrative and built a musical (non-musical) drama interweaving the materials.