Miscellaneous works

Score video

commissioned by Popsick and Seungmin Park

Sung by Sanha Park

co-produced / recorded / mixed with Popsick

Date of composition: (2022)

1. News Delivery Rag

2. 1st Duet - Night Piece No.1 

3. PORNOMUSIK

4. Catwalk

5. 2nd Duet

6. Postlude

Date of composition: (2022)

• Stairway to nowhere (어디로든 향하지 않는 계단) (2022/2024)

• Reunion (재회) (2023)

• Come on friends (친구들이 모여) (2022~2023)

• Today is my Carnival Day (extended version) (2022)

commissioned by Popsick

co-produced with Popsick

Date of composition: (2022/2023~2024)

Nomenclature

• 8 Pianoforti

commissioned by Dayoung Park

This piece was written for four pianos and was composed in memory of Domenico Alberti, the creator of the "Alberti bass", who passed away at the age of thirty. Alberti’s Keyboard Sonata No. 2 is transformed in various ways across the four pianos, exploring musical possibilities that can only be realized through the use of four instruments.

Date of composition: (2024, rev.2025)

Nomenclature

• 8 Pianoforti

commissioned by Dayoung Park

 The term “utpeuda(웃프다)” (a Korean neologism) refers to a situation that is clearly sad, yet somehow funny—or, conversely, one that is funny, yet inexplicably sad. According to the dictionary, it describes something that appears humorous on the surface but is, in truth, rooted in an unfortunate or pitiful reality.

 This piece, on the surface, might be extremely funny—or perhaps even beautiful. Repeated notes and the gestures that ornament them, the tapping across different parts of the piano, and the strangely off-kilter harmonies—these elements may seem foolish, even crude and unrefined.

 However, I found that these unprocessed, simple materials were the most optimal choice for handling eight pianos arranged across this vast space. Pianos No. 4 and 5 have their practice pedals engaged throughout the entire piece, providing a soft corner within the overall texture. Each instrument’s assigned pitches are carefully distributed according to where in the space they should resonate, with the order of their appearance and the distances between tones also predetermined.

 What I seek to explore through this work is the following: when not one but eight keyboard instruments (often called “miniature orchestras”) are used, how can one utilize the resulting spatial sonority? And what psychological responses do their presences provoke? It is all too easy to overwhelm. But if one strips away those easily overwhelming effects and techniques—what remains? Perhaps what is left is something both laughable and inevitably solemn: a sadness that cannot help but be tinged with quiet sorrows.

Date of composition: (2024, rev.2025)

More about the project (in korean)

• N4-a / 취타 (Marching Music)

• N4-c / 조준 (Pointing)

• N4-e / 공명 (Resonance)

• N4-f / 간섭 (Interference)

• N4-g / 정렬 (Alignment)

commissioned by K'arts creative

co-produced with Jisu Han and Noddy Woo, with visuals by Hezin Oh

as a part of N4I, Gyechon Artist Residency Project

Date of composition: (2025)