Ongoing (2025)
Duration: 7 minutes
Instrumentation: 2222-3200-timp,2pc-strings
Commissioner: the Korean Chamber Orchestra (Min Kim, Music Director)
Performance History
2/1/2025 Korean Chamber Orchestra w/ Soo-Yeoul Choi (cond), Seoul, South Korea
Review Excerpts
"It contained both classical and modern elements that merged together to form a unique unity." - Melos, Madlen Poguntke
"김택수는 ... 의도적인 이완과 다가옴으로 청중과 연주자들의 마음에 들고자 하는 소통을 꾀한다" - 월간 리뷰, 성용원
Program Notes
The history of art and music is replete with individuals who mastered prevailing styles before pioneering innovative ones, exemplifying a spirit that aligns perfectly with a traditional Korean proverb, “Ongojishin, 온고지신, 温故知新,” which can be loosely translated as “learning from the past to inform the present.”
I have also studied music by MANY other composers. One of them who enlightened me significantly (along with my own teachers) is Alfred Schnittke (1934-98). He is well-known for polystylism, juxtaposing diverse Western Art Music styles from Renaissance to Modernism. I vividly remember encountering his music in a music analysis class in 2005 and thinking, “THIS is the way to reflect the 21st-century multicultural society.” Even though I listen to Schnittke’s music much less frequently now, his influence persists in my works (even when I am unaware). Composing this new piece, I wanted to redefine my relationship with his music. I sought to emulate his ideal of embracing music from previous centuries while looking for alternative methodologies. Here, I use fragments of Beethoven’s Symphony No.3, which is being performed in the same program. Drawing inspiration from Beethoven in this way suits my purposes, because, for so many of us, he symbolizes a worthy and heroic goal.
Taking a new step after two decades is somewhat intimidating but exciting: it makes me realize that I continue to grow. Speaking of continuous evolution, this is the 60th anniversary of the Korean Chamber Orchestra, which commissioned the new piece. Thinking of the 60 years of its rich history (especially considering South Korea’s situation when KCO was founded) makes me humble and respectful.
The ongoing growth of KCO is aptly reflected in the title of my piece, “Ongoing.” This title is also a word-play using the first half of “Ongojishin.” I hope this seven-minute overture will serve as a proper tribute to KCO and convey my sincerest wishes for its continued success and bright future!!
Instrumentation: 2222-3200-timp,2pc-strings
Commissioner: the Korean Chamber Orchestra (Min Kim, Music Director)
Performance History
2/1/2025 Korean Chamber Orchestra w/ Soo-Yeoul Choi (cond), Seoul, South Korea
Review Excerpts
"It contained both classical and modern elements that merged together to form a unique unity." - Melos, Madlen Poguntke
"김택수는 ... 의도적인 이완과 다가옴으로 청중과 연주자들의 마음에 들고자 하는 소통을 꾀한다" - 월간 리뷰, 성용원
Program Notes
The history of art and music is replete with individuals who mastered prevailing styles before pioneering innovative ones, exemplifying a spirit that aligns perfectly with a traditional Korean proverb, “Ongojishin, 온고지신, 温故知新,” which can be loosely translated as “learning from the past to inform the present.”
I have also studied music by MANY other composers. One of them who enlightened me significantly (along with my own teachers) is Alfred Schnittke (1934-98). He is well-known for polystylism, juxtaposing diverse Western Art Music styles from Renaissance to Modernism. I vividly remember encountering his music in a music analysis class in 2005 and thinking, “THIS is the way to reflect the 21st-century multicultural society.” Even though I listen to Schnittke’s music much less frequently now, his influence persists in my works (even when I am unaware). Composing this new piece, I wanted to redefine my relationship with his music. I sought to emulate his ideal of embracing music from previous centuries while looking for alternative methodologies. Here, I use fragments of Beethoven’s Symphony No.3, which is being performed in the same program. Drawing inspiration from Beethoven in this way suits my purposes, because, for so many of us, he symbolizes a worthy and heroic goal.
Taking a new step after two decades is somewhat intimidating but exciting: it makes me realize that I continue to grow. Speaking of continuous evolution, this is the 60th anniversary of the Korean Chamber Orchestra, which commissioned the new piece. Thinking of the 60 years of its rich history (especially considering South Korea’s situation when KCO was founded) makes me humble and respectful.
The ongoing growth of KCO is aptly reflected in the title of my piece, “Ongoing.” This title is also a word-play using the first half of “Ongojishin.” I hope this seven-minute overture will serve as a proper tribute to KCO and convey my sincerest wishes for its continued success and bright future!!