Hyo-shin Na: All the Noises

Track Listings

1. Ocean/Shore 2 16:11

2. All the Noises in the World 13:20

3. Walking, Walking 25:36

4. Ten Thousand Ugly Ink Blots 21:40

Editorial Reviews

Product Description
I am no longer trying to write Korean music; nor am I trying not to write Korean music. - Hyo-shin Na After studying piano and composition in her native Korea, Hyo-shin Na came to the United States in 1983 to do graduate work at the Manhattan School of Music and at the University of Colorado, where she received her doctorate, then moved in 1988 to San Francisco. She met Cage, Rzewski, Wolff and Takahashi, and encountered the music of Nancarrow. At the same time, she made return trips to Korea to hear and study traditional Korean music while also taking a broad interest in the music of other regions of Asia. Hyo-shin Na has written for Western instruments, for traditional Korean instruments and has written music that combines western and Asian (Korean and Japanese) instruments and ways of playing. Her music for traditional Korean instruments is recognized by both composers and performers in Korea (particularly by the younger generation) as being uniquely innovative. Her writing for combinations of Western and Eastern instruments is unusual in its refusal to compromise the integrity of differing sounds and ideas; she prefers to let them interact, coexist and conflict in the music.

Label: New World Records
ASIN: B001065NO6



Variations on America

Philip Clark revels in groups of discs of contemporary North American music that pushes at the boundaries

Gramophone (April, 2008)

The graceful tones of ex-pat Korean, now San Francisco based composer Hyo-shin Na's music - heard on "All the Noises" - is another world. "I am no longer trying to write Korean music," she states, and the uncluttered textures of her music, although clearly rooted in the East, have been filtered through a new awareness of Cage and Feldman.
 All the Noises in the World for an ensemble of Korean instruments has a stretching, inscrutable non-narrative structure, and the pinhead microtonal nuances of her string quartet Ten Thousand Ugly Ink Blots flip our expectations of the genre sideways.