Isang Yun (also spelled Yun I-sang; 17 September 1917 – 3 November 1995) was a Korean-born composer who made his later career in Germany. Yun’s primary musical concern was the development of Korean music by the means of Western avantgarde music. After experimenting with 12-tone techniques Yun developed his own musical personality in his works of the early 1960s, post-serialistic “sound compositions”. Yun’s music employed techniques associated with traditional Korean music, such as glissandi, pizzicati, portamenti, vibrati, and above all a very rich vocabulary of ornaments. Essential is the presence of multiple-melodic lines, which Yun called “Haupttöne” (“central” or “main tones”).[source]
[Read here; Isang Young in a conversation with Bruce Duffie]
[Read about Yuns use of Hauptton technique in Piri (page 35)]
Heinz Holliger – Solo Oboe
[inspired by Ronnie Rocket, thanks a lot]
The concertina rarely features in classical music outside the work of Astor Piazzolla or Pauline Oliveiros, and its use alongside strings in these four pieces is indicative of the Korean composer Isang Yun’s fondness for unusual instrumental combinations. The Taoist principles behind his work are perhaps most evident in the rising figures representing the shift from darkness to light in Duo, or the contrast between the high, bird-like violins and the vibrant chord-clusters of Stefan Hussong’s accordion in Concertino. Originally scored for cello and piano, Intermezzo is less diverse, with the cello’s bowed lowing occupying similar space to the accompanying accordion drone. [The Independent].