Sounding What
Matters Now
Studio frische Klänge, based in Busan, Korea,
is a contemporary music composition and performance collective.
Focusing on works by contemporary composers,
it seeks to reflect social issues and the spirit of our time,
and produces interdisciplinary performances
that combine various artistic elements such as dance and multimedia.
Studio frische Klänge, based in Busan, Korea, is a contemporary music composition and performance collective. Focusing on works by contemporary composers, it seeks to reflect social issues and the spirit of our time, and produces interdisciplinary performances that combine various artistic elements such as dance and multimedia.
Upcoming Concerts
Dec.21.(Sun) 6 PM House of VERT
Concert Vol.4 frische disharmonische Klänge
Selected for the Busan Cultural Foundation
«Excellence in Arts Support»
News
Dec.21.(Sun) 6 PM House of VERT
Concert Vol.4 frische disharmonische Klänge
Selected for the Busan Cultural Foundation
«Excellence in Arts Support»
Selected for the Busan Cultural Foundation «Excellence in Arts Support»
Concert Vol.4 frische disharmonische Klänge
Dec.21.(Sun) 6 PM House of VERT
Selected for the Busan Cultural Foundation «Excellence in Arts Support»
Concert Vol.4
frische disharmonische Klänge
Dec.21.(Sun) 6 PM House of VERT
Performance Participation Guide
🎼 Performance Information
This performance has been prepared as a private showcase in order to share the intimate character and experimental orientation of the work
in a sincere manner within a highly focused environment.
Together with a small audience, the composer will personally introduce and explain the creative intentions and artistic world,
fostering deep and meaningful communication.🎫 Admission Information
Admission is limited to pre-registered guests only, and entry is granted only to those who have received a confirmation message
after completing registration via QR code or link. (Seating is first-come, first-served)Ticket Prices
• General: 20,000 KRW
• Student: 10,000 KRW (Student ID required on the day of the performance)🎁 Supporter Ticket (including Artist Package)
• General: 30,000 KRW
• Student: 20,000 KRWThe Artist Package includes a live performance USB, program brochure, and mini staff notebook by Studio frische Klänge,
presented with gratitude to those who support the performance and creative activities.Audience Age: Elementary school students and older📍 Venue
• House of VERT
• 3F, 14, Gwangnam-ro, Suyeong-gu, Busan (Namcheon-dong)
• No parking available in the building · Please use nearby paid parking lots
🎼 Performance Information
This performance has been prepared as a private showcase in order to share the intimate character and experimental orientation of the work in a sincere manner within a highly focused environment.
Together with a small audience, the composer will personally introduce and explain the creative intentions and artistic world, fostering deep and meaningful communication.🎫 Admission Information
Admission is limited to pre-registered guests only, and entry is granted only to those who have received a confirmation message after completing registration via QR code or link. (Seating is first-come, first-served)Ticket Prices
• General: 20,000 KRW
• Student: 10,000 KRW (Student ID required on the day of the performance)🎁 Supporter Ticket (including Artist Package)
• General: 30,000 KRW
• Student: 20,000 KRWThe Artist Package includes a live performance USB, program brochure, and mini staff notebook by Studio frische Klänge, presented with gratitude to those who support the performance and creative activities.Audience Age: Elementary school students and older📍 Venue
• House of VERT
• 3F, 14, Gwangnam-ro, Suyeong-gu, Busan (Namcheon-dong)
• No parking available in the building
• Please use nearby paid parking lots
Program
Featured Artists
Dynamic Busan (2024) for alto saxophone and pianoI Can’t Breathe II (2021, rev. 2025) for flute and tapemusique concrète documentaire Op. 2
19792019; Rejected Title (2023) for violin, piano, and tapeIn a World Where Being Myself is Not a Reason for Discrimination III (2025)
for piri and alto saxophoneThe Wind that Erodes the Stone (2025) for gayageum, dance gesture, and tapemusique concrète documentaire Op. 3/b
Today I am Leaving College. No, I Refuse. (2023, rev. 2025) for two speakers and virtual interviewee
«Studio frische Klänge»
Su Lee composer · director
Hangyu Bai piano
Byunggeun Ahn flute
Hyun-Woo Lee violin
Seong-Jun Byun piri
Ji Eun Kim gayageum
Bo Eun Kim dance gesture (choreography)
Seong-bok Kim speaker (baritone)
Sun Hong Woo speaker (soprano)«Guest» Daehoon Kim alto saxophone
Program
Dynamic Busan (2024)
for alto saxophone and pianoI Can’t Breathe II (2021, rev. 2025)
for flute and tapemusique concrète documentaire Op. 2
19792019; Rejected Title (2023)
for violin, piano, and tapeIn a World Where Being Myself is
Not a Reason for Discrimination III (2025)
for piri and alto saxophoneThe Wind that Erodes the Stone (2025)
for gayageum, dance gesture, and tapemusique concrète documentaire Op. 3/b
Today I am Leaving College. No, I Refuse.
(2023, rev. 2025)
for two speakers and virtual interviewee
Featured Artists
«Studio frische Klänge»
Su Lee composer · director
Byunggeun Ahn flute | Hyun-Woo Lee violin
Seong-Jun Byun piri | Ji Eun Kim gayageum
Bo Eun Kim dance gesture (choreography)
Seong-bok Kim speaker (baritone)
Sun Hong Woo speaker (soprano)
Hangyu Bai piano«Guest» Daehoon Kim alto saxophone
Program Note
This concert emphasizes the role of the artist in times of social and political upheaval: not to turn away from the “uncomfortable truths,” but to confront them and spark meaningful dialogue. This stance extends from the composer’s personal convictions and her ongoing effort to document social issues through music.Dynamic Busan draws its musical inspiration from the unique vitality of Busan: its dialect, the speed and intonation of speech, rhythm, and the sonic qualities of consonants and vowels. The pitch material is derived from B.U.S.A.N. (B-flat, C, E-flat, A, and an additional pitch), with centers shifting rapidly to capture the city’s dynamic character.I Can’t Breathe was composed during the composer’s residency in the United States in 2020, as a gesture of solidarity with protests against racist violence and
the Black Lives Matter movement. The work is built upon a pulse-like, repetitive tape rhythm, against which the flute’s dissonant melodies and harmonies deliver a powerful message.19792019; The Rejected Title uses pre-recorded tape and an English text spoken in Sprechstimme. The distorted vocal quality of Sprechstimme combined with the taped messages functions as a meta-element, deliberately blurring the identity of the speaker and paradoxically highlighting the absurdities of reality.
(Sprechstimme: German, meaning “speech-voice,” a vocal technique between speaking and singing)In a World Where Living as Myself Is Not a Reason for Discrimination expands the idea of “unfamiliar sound” into a spatial context. Rather than projecting sound
in a single direction, the work explores the physical movement of sound across space, offering the audience a fresh and original sensory experience.The Wind that Erodes the Stone intertwines transformed rhythmic cycles with electronic timbres within a structure reminiscent of the gayageum sanjo. In this process, traces of tradition are unfamiliarized, altered, and reconstructed. The outcome mirrors the seemingly impossible yet inevitable work of the wind carving away at stone over centuries. On the threshold where past and present, tradition and modernity collide and merge, this artistic act becomes a metaphor for subtle yet undeniable change, as well as a way of living.Today I Am Leaving College. No, I Refuse. is a satirical, educational, and political work that traces how a university lecturer comes to utter, in resignation, the same words once spoken by a college student 15 years earlier. While autobiographical in origin, the piece addresses wide-ranging issues: the 2019 Adjunct Act in Korea,
the University Innovation Support Project, the increasing social “deaths” of teachers, the erosion of teaching authority, and the global commercialization of higher education—not only in Korea but worldwide.
This concert emphasizes the role of the artist in times of social and political upheaval: not to turn away from the “uncomfortable truths,” but to confront them and spark meaningful dialogue. This stance extends from the composer’s personal convictions and her ongoing effort to document social issues through music.Dynamic Busan draws its musical inspiration from the unique vitality of Busan: its dialect, the speed and intonation of speech, rhythm, and the sonic qualities of consonants and vowels. The pitch material is derived from B.U.S.A.N. (B-flat, C, E-flat, A, and an additional pitch), with centers shifting rapidly to capture the city’s dynamic character.I Can’t Breathe was composed during the composer’s residency in the United States in 2020, as a gesture of solidarity with protests against racist violence and the Black Lives Matter movement. The work is built upon a pulse-like, repetitive tape rhythm, against which the flute’s dissonant melodies and harmonies deliver a powerful message.19792019; The Rejected Title uses pre-recorded tape and an English text spoken in Sprechstimme. The distorted vocal quality of Sprechstimme combined with the taped messages functions as a meta-element, deliberately blurring the identity of the speaker and paradoxically highlighting the absurdities of reality.
(Sprechstimme: German, meaning “speech-voice,” a vocal technique between speaking and singing)In a World Where Living as Myself Is Not a Reason for Discrimination expands the idea of “unfamiliar sound” into a spatial context. Rather than projecting sound in a single direction, the work explores the physical movement of sound across space, offering the audience a fresh and original sensory experience.The Wind that Erodes the Stone intertwines transformed rhythmic cycles with electronic timbres within a structure reminiscent of the gayageum sanjo. In this process, traces of tradition are unfamiliarized, altered, and reconstructed. The outcome mirrors the seemingly impossible yet inevitable work of the wind carving away at stone over centuries. On the threshold where past and present, tradition and modernity collide and merge, this artistic act becomes a metaphor for subtle yet undeniable change, as well as a way of living.Today I Am Leaving College. No, I Refuse. is a satirical, educational, and political work that traces how a university lecturer comes to utter, in resignation, the same words once spoken by a college student 15 years earlier. While autobiographical in origin, the piece addresses wide-ranging issues: the 2019 Adjunct Act in Korea, the University Innovation Support Project, the increasing social “deaths” of teachers, the erosion of teaching authority, and the global commercialization of higher education—not only in Korea but worldwide.
[Preview] Dynamic Busan (2024) for Alto Saxophone and Piano
[Preview] Dynamic Busan (2024)
for Alto Saxophone and Piano
Mission
Studio frische Klänge (hereafter SfK) is a contemporary music composition and performance collective founded in Busan in 2021, bringing together composers, performers of Korean traditional and
Western classical instruments, and dancers.SfK pursues New Music and artistic innovation, aiming to convey social and cultural messages
through an original musical language that reflects the spirit of our time.Centered on projects initiated by the artistic director, each member participates with the agency according to their role and stage of involvement. Through active exchange among artists and distinctive modes of communication, the collective seeks to bring new vitality to the field of contemporary music.Focusing on works by contemporary composers, SfK organizes workshops, seminars, and concerts
to broaden its artistic spectrum, while also engaging in international exchange and collaboration
to strengthen cross-cultural understanding and solidarity in a divided world.
U.S. Concert K-Life Unplugged — with Studio frische Klänge,
Sotto Voce, and local musicians from Buffalo, New York
Studio frische Klänge (hereafter SfK) is a contemporary music composition and performance collective founded in Busan in 2021, bringing together composers, performers of Korean traditional and Western classical instruments, and dancers.SfK pursues New Music and artistic innovation, aiming to convey social and cultural messages through an original musical language that reflects the spirit of our time.Centered on projects initiated by the artistic director,
each member participates with the agency according to their role and stage of involvement. Through active exchange among artists and distinctive modes of communication, the collective seeks to bring new vitality to the field of contemporary music.Focusing on works by contemporary composers,
SfK organizes workshops, seminars, and concerts to broaden its artistic spectrum, while also engaging in international exchange and collaboration to strengthen cross-cultural understanding and solidarity in a divided world.
U.S. Concert K-Life Unplugged — with Studio frische Klänge,
Sotto Voce, and local musicians from Buffalo, New York
History
07/26/25 Cross-Cultural Concert Vol.3 musique concrète documentaire K-Life Unplugged (UUCB, Buffalo, New York, USA)07/25/25 Global x Artist Series No.2 Grit & Silk: The Voices of Gayageum & Debussy (Calvary Episcopal Church, Williamsville, New York, USA)07/19/25 Artist Series No.1 Lecture Concert Strings of Korea: The Gayageum from Tradition to Future (UUCB, Buffalo, New York, USA)09/03/24 Presentation of a chamber music piece at the 53rd Composition Concert of the Busan Composers’ Association
An Evening of Art Songs and Chamber Music: A Free Flight (Busan Cultural Center, Busan, Korea)11/29/23 Concert Vol.2 At the Intersection of the Individual & Society, the Composer Makes a Noise (Dongnae Cultural Center, Busan, Korea)11/15/22 Participated as an ensemble in the 51st Composition Concert of the Busan Composers’ Association
Once Again, Reaching Out Through Choral & Chamber Music (Geumjeong Cultural Center, Busan, Korea)09/14/22 Concert Vol.1 Studio frische Klänge Founding Concert · Composer Su Lee Lecture-Concert (Geumjeong Cultural Center, Busan, Korea)
07/26/25 Cross-Cultural Concert Vol.3
musique concrète documentaire K-Life Unplugged
(UUCB, Buffalo, NY, USA)07/25/25 Global x Artist Series No.2
Grit & Silk: The Voices of Gayageum & Debussy
(Calvary Episcopal Church, Williamsville, NY, USA)07/19/25 Artist Series No.1
Lecture Concert Strings of Korea: The Gayageum from Tradition to Future (UUCB, Buffalo, NY, USA)09/03/24 Presentation of a chamber music piece at the 53rd Composition Concert of the Busan Composers’ Association An Evening of Art Songs and Chamber Music: A Free Flight
(Busan Cultural Center, Busan, Korea)11/29/23 Concert Vol.2
At the Intersection of the Individual & Society, the Composer Makes a Noise (Dongnae Cultural Center, Busan, Korea)11/15/22 Participated as an ensemble in the 51st Composition Concert of the Busan Composers’ Association Once Again, Reaching Out Through Choral & Chamber Music (Geumjeong Cultural Center, Busan, Korea)09/14/22 Concert Vol.1
Studio frische Klänge Founding Concert ·
Composer Su Lee Lecture-Concert
(Geumjeong Cultural Center, Busan, Korea)
Team
Featured Artists
Su Lee director · composer · organ
• B.A. in Composition, Pusan National Univ.• M.A. in Integrative Composition, Folkwang Univ. of the Arts (Germany)• M.A. in Organ, Ph.D. in Composition, State Univ. of New York at Buffalo (USA)• Personal Composition Recitals: «Critical Listening», «Critical Composition», «At the Intersection of the Individual & Society, the Composer Makes a Noise»• Former Lecturer: SUNY Buffalo Univ., Pusan National Univ., Chung-Ang Univ., Pusan National Edu. Univ., Changwon National Univ., Dong-A Univ., Kyungnam Univ.
• B.A. in Composition, Pusan National Univ.• M.A. in Integrative Composition, Folkwang Univ. of the Arts (Germany)• M.A. in Organ, Ph.D. in Composition, State Univ. of New York at Buffalo (USA)• Personal Composition Recitals: «Critical Listening», «Critical Composition», «At the Intersection of the Individual & Society, the Composer Makes a Noise»• Former Lecturer: SUNY Buffalo Univ., Pusan National Univ., Chung-Ang Univ., Pusan National Edu. Univ., Changwon National Univ., Dong-A Univ., Kyungnam Univ.
Su Lee, a composer and organist, was deeply influenced by postwar European political composers during her studies in Germany.
Her works consistently explore the relationship between music and society.As an organist, she has presented solo recitals, including «Über den Namen B-A-C-H», «Celebrating Lou Harrison’s 100th Birth Year at Thunder Night»,
and «Die Radikalen Tasten». Her dissertation, Die Radikalen Tasten (The Radical Keys), is a concerto for tracker-action pipe organ with a six-keyboard ensemble, acclaimed for integrating microtonal and electroacoustic elements with equal-tempered acoustic instruments.After returning to Korea in 2020, she organized composition recitals such as «Critical Listening» (2021), addressing global social movements and Korean political issues, «the founding concert of Studio frische Klänge» (2022), introducing her concept of “musique concrète documentaire”, and «At the Intersection of the Individual & Society, the Composer Makes a Noise» (2023), expanding personal experiences into societal reflections.Su Lee holds a B.M. in Composition from Pusan National University, an M.M. in Integrative Composition from Folkwang Universität der Künste, and an M.M. in Organ and Ph.D. in Composition from SUNY Buffalo. She directs contemporary music composition & performance collective Studio frische Klänge, and is an organist at the Unitarian Universalist Church of Buffalo.
Su Lee, a composer and organist, was deeply influenced by postwar European political composers during her studies in Germany.
Her works consistently explore the relationship between music and society.As an organist, she has presented solo recitals, including «Über den Namen B-A-C-H», «Celebrating Lou Harrison’s 100th Birth Year at Thunder Night», and «Die Radikalen Tasten». Her dissertation, Die Radikalen Tasten (The Radical Keys), is a concerto for tracker-action pipe organ with a six-keyboard ensemble, acclaimed for integrating microtonal and electroacoustic elements with equal-tempered acoustic instruments.After returning to Korea in 2020, she organized composition recitals such as «Critical Listening» (2021), addressing global social movements and Korean political issues, «the founding concert of Studio frische Klänge» (2022), introducing her concept of “musique concrète documentaire”, and «At the Intersection of the Individual & Society, the Composer Makes a Noise» (2023), expanding personal experiences into societal reflections.Su Lee holds a B.M. in Composition from Pusan National University, an M.M. in Integrative Composition from Folkwang Universität der Künste, and an M.M. in Organ and Ph.D. in Composition from SUNY Buffalo. She directs contemporary music composition & performance collective Studio frische Klänge, and is an organist at the Unitarian Universalist Church of Buffalo.
Seong-bok Kim conductor · baritone
• B.A. in Music, Pusan National Univ.• Graduated from Santa Cecilia Conservatory of Music (Rome, Italy) and served as a Teaching Assistant• Graduated from A.I. Arts Accademia (Rome, Italy) in Choral Conducting• M.A. in Choral Conducting, Hansei Univ. Graduate School• Present: Conductor of Blooming, Nanum Happy, Pusan National University Alumni Choir, Busan Women’s Choir, Busan Senior Women’s Union Choir, Geumjeong-gu Women’s Choir, and Busan Civil Servants Choir B-Star
• B.A. in Music, Pusan National Univ.• Graduated from Santa Cecilia Conservatory of Music (Rome, Italy) and served as a Teaching Assistant• Graduated from A.I. Arts Accademia (Rome, Italy) in Choral Conducting• M.A. in Choral Conducting, Hansei Univ. Graduate School• Present: Conductor of Blooming, Nanum Happy, Pusan National University Alumni Choir, Busan Women’s Choir, Busan Senior Women’s Union Choir, Geumjeong-gu Women’s Choir, and Busan Civil Servants Choir B-Star
Hangyul Lee composer · sound
• B.A. in Composition, Pusan National Univ.• M.A. in Computer Music, Graduate School of Arts, Pusan National Univ.• Present: Executive Director & Music Director at NOLAS
Ji Eun Kim gayageum
• B.A. in Korean Music, Pusan National Univ.• M.A. in Music Education, Pusan National Univ.• Winner of Minister’s Award at Changwon National Korean Music Competition (General Division)• Winner of Grand Prize at Nonghwa National Korean Music Competition (General Division)• Present: Ph.D. in Educational Psychology, Pusan National Univ. (in progress) and Gayageum Instructor at Premier Music, Dongnae Branch
• B.A. in Korean Music, Pusan National Univ.• M.A. in Music Education, Pusan National Univ.• Winner of Minister’s Award at Changwon National Korean Music Competition (General Division)• Winner of Grand Prize at Nonghwa National Korean Music Competition (General Division)• Present: Ph.D. in Educational Psychology, Pusan National Univ. (in progress) and Gayageum Instructor at Premier Music, Dongnae Branch
Ji Eun Kim is currently a performer at Studio frische Klänge, where she continues to explore and reinterpret the potential of the traditional Korean instrument,
the gayageum, in a modern context.Captivated by the sound of the gayageum from a young age, Ji Eun Kim chose the path of a performer and pursued studies at a specialized arts high school and a music university. She has been recognized for her musical abilities through numerous prestigious awards, including the Minister’s Award at the Changwon National Gugak Competition and the Grand Prize at the Nonghwa National Gugak Competition. Her repertoire spans from classical sanjo and jeongak to contemporary compositions,
all of which she performs with delicate interpretation and deep emotional insight.Ji Eun Kim holds a Bachelor’s degree in Korean Music and a Master’s degree in Music Education from Pusan National University. She is currently pursuing a Ph.D. in Educational Psychology at the university, conducting research on the intersection of traditional music and education. In addition to her performance career, she also works as a gayageum instructor at Premier Music, where she is dedicated to nurturing the next generation of performers and promoting the educational value of traditional Korean music.
Ji Eun Kim is currently a performer at Studio frische Klänge, where she continues to explore and reinterpret the potential of the traditional Korean instrument, the gayageum, in a modern context.Captivated by the sound of the gayageum from a young age, Ji Eun Kim chose the path of a performer and pursued studies at a specialized arts high school and a music university. She has been recognized for her musical abilities through numerous prestigious awards, including the Minister’s Award at the Changwon National Gugak Competition and the Grand Prize at the Nonghwa National Gugak Competition. Her repertoire spans from classical sanjo and jeongak to contemporary compositions,
all of which she performs with delicate interpretation and deep emotional insight.Ji Eun Kim holds a Bachelor’s degree in Korean Music and a Master’s degree in Music Education from Pusan National University. She is currently pursuing a Ph.D. in Educational Psychology at the university, conducting research on the intersection of traditional music and education. In addition to her performance career, she also works as a gayageum instructor at Premier Music, where she is dedicated to nurturing the next generation of performers and promoting the educational value of traditional Korean music.
Sun Hong Woo soprano
• Former director of “October Mind” musical by Gyeongsangnam-do Office of Education• Graduate of Pilgrim Mission Music Center conducting academy• M.A. in Music Education, Gyeongnam National Univ.• Present: Music Teacher at Masan Jeil Girls’ Middle School
Sunghyun Jo horn
• B.A. in Music, Pusan National Univ.• M.A. from Royal Conservatory of Brussels, Belgium• Performed with Seoul Symphony Orchestra, Busan, Ulsan, Pohang Symphony Orchestras, and Brussels Philharmonic• Present: Member of KNN Broadcasting Symphony Orchestra
• B.A. in Music, Pusan National Univ.• M.A. from Royal Conservatory of Brussels, Belgium• Performed with Seoul Symphony Orchestra, Busan, Ulsan, Pohang Symphony Orchestras, and Brussels Philharmonic• Present: Member of KNN Broadcasting Symphony Orchestra
Bo Eun Kim dance
• Holder of Dongnae Drum Dance, Busan Intangible Cultural Asset No. 10• Regular Member, Busan Branch of the Korean Traditional Dance Association• Present: Director of Dance Company Ain
Ji-In Lee haegeum
• B.A. in Korean Music, Dongguk Univ.• Performed as soloist in the 2021 Gwangju Municipal Traditional Orchestra Youth Concerto Night, appeared at the The One Art Korea “Chuchu-hada” Festival,
the 2019 Haeorum Alliance Korean Music Exchange Festival, and numerous other guest performances• Present: M.A. in Music Education, Pusan National Univ. (in progress); Member of Team Yeongtori; Haegeum Instructor for the Wolpyeong Elementary School Orchestra
• B.A. in Korean Music, Dongguk Univ.• Performed as soloist in the 2021 Gwangju Municipal Traditional Orchestra Youth Concerto Night, appeared at the The One Art Korea “Chuchu-hada” Festival, the 2019 Haeorum Alliance Korean Music Exchange Festival, and numerous other guest performances• Present: M.A. in Music Education, Pusan National Univ. (in progress); Member of Team Yeongtori; Haegeum Instructor for the Wolpyeong Elementary School Orchestra
Hyun-Woo Lee violin
• Graduated from Meisterklasse (Solo Performance) Program, University of Music Würzburg, Germany• Graduated from Konzertexamen (Chamber Music) Program, University of Music Saarbrücken, Germany• Present: Faculty, Busan Arts Middle & High Schools; Pusan National Univ.; Busan National Univ. of Education; Concertmaster, Busan CBS Symphony Orchestra
• Graduated from Meisterklasse (Solo Performance) Program, University of Music Würzburg, Germany• Graduated from Konzertexamen (Chamber Music) Program, University of Music Saarbrücken, Germany• Present: Faculty, Busan Arts Middle & High Schools; Pusan National Univ.; Busan National Univ. of Education; Concertmaster, Busan CBS Symphony Orchestra
Seong-Jun Byun piri
• B.A. in Korean Traditional Music, Seoul National Univ.• Holder of National Intangible Cultural Heritage for Piri Jeongak and Daechwita• Former member of Seoul Piri Ensemble• Present: M.A. in Music Education, Pusan National Univ. (in progress) and Piri Instructor at Seomyeong Elementary School
• B.A. in Korean Traditional Music, Seoul National Univ.• Holder of National Intangible Cultural Heritage for Piri Jeongak and Daechwita• Former member of Seoul Piri Ensemble• Present: M.A. in Music Education, Pusan National Univ. (in progress) and Piri Instructor at Seomyeong Elementary School
Hyunjin Kim composer
• High School Diploma, Gyeongnam Arts High School• B.A. in Composition, Department of Music, Pusan National University
Byunggeun Ahn flute
• B.A., Korea National University of Arts• M.A., University of Music and Theatre Leipzig (Germany)• Former Member, Kumho Young Chamber Artists; Former Associate Member, Busan Philharmonic Orchestra• Present: Associate Principal, Busan Symphony Orchestra
Hangyu Bai piano
Hangyu Bai, Doctor of Piano Performance, graduated from the University of Arizona, a public Ivy League institution ranked among the top 100 by U.S. News,
majoring in Piano Performance with a minor in Interdisciplinary Studies. She holds a Master’s degree in Piano Performance and an Advanced Certificate in Contemporary Music Performance from the State University of New York at Buffalo, along with an Artist Diploma in Piano Performance from Purchase College.As an experienced music educator, Hangyu has served as a lecturer in the Music Department at the State University of New York at Buffalo and has contributed
her expertise in piano teaching there.Throughout her performing career, Hangyu has received numerous international accolades, including Second Place in the American Protégé International Piano and Strings Competition, an opportunity to perform at Carnegie Hall, and awards at the Hong Kong Schimmel Cup. Additionally, her role as a cultural exchange ambassador, awarded during her three-consecutive-year concert series Travesía Musical tour in Mexico, underscores her significant influence in the international music arena.
Hangyu Bai, Doctor of Piano Performance, graduated from the University of Arizona, a public Ivy League institution ranked among the top 100 by U.S. News, majoring in Piano Performance with a minor in Interdisciplinary Studies. She holds a Master’s degree in Piano Performance and an Advanced Certificate in Contemporary Music Performance from the State University of New York at Buffalo, along with an Artist Diploma in Piano Performance from Purchase College.As an experienced music educator, Hangyu has served as a lecturer in the Music Department at the State University of New York at Buffalo and has contributed her expertise in piano teaching there.Throughout her performing career, Hangyu has received numerous international accolades, including Second Place in the American Protégé International Piano and Strings Competition, an opportunity to perform at Carnegie Hall, and awards at the Hong Kong Schimmel Cup. Additionally, her role as a cultural exchange ambassador, awarded during her three-consecutive-year concert series Travesía Musical tour in Mexico, underscores her significant influence in the international music arena.
Zane Merritt composer · guitar
Based in Buffalo, NY, composer, guitarist, and educator Zane Merritt (PhD in music composition, University at Buffalo 2016, and MM in guitar performance from
Butler University 2010) is a dynamic voice in a wide variety of musical expressions and contexts.As a guitarist, he has performed internationally from Toronto to Nagoya, playing a diverse set of repertoire including his own original compositions and pieces by composers as varied as Bach, Elliott Carter, Benjamin Britten, and Luciano Berio. He has been a featured guest performer at the Aichi Prefectural University of the Arts (Nagoya, Japan), Piano Moderna (Toronto, Canada), A Thousand Paper Cranes: “New Music Japan” (New York, NY), The June in Buffalo International New Music Festival (Buffalo, NY), Switch~ Ensemble (New York, NY), and many others.As a composer, recent performances include violist Michael Hall premiering his piece for solo viola and the sound chip of the Nintendo Entertainment System,
“Atavistic Gizmo Rush”, at the Electronic Music Midwest festival at Lewis University in March 2024 and oboist Megan Kyle and pianist Michael McNeill premiering the
first of a planned series of neoclassical sonatas at SUNY Geneseo in April of 2024.Also an experienced teacher, Zane has served as an Adjunct Professor at Clarke University (Dubuque, IA) and as a Guest Instructor of Composition at Butler University in Spring 2024. He is currently teaching at the State University of New York at Buffalo.
Based in Buffalo, NY, composer, guitarist, and educator Zane Merritt (PhD in music composition, University at Buffalo 2016, and MM in guitar performance from Butler University 2010) is a dynamic voice in a wide variety of musical expressions and contexts.As a guitarist, he has performed internationally from Toronto to Nagoya, playing a diverse set of repertoire including his own original compositions and pieces by composers as varied as Bach, Elliott Carter, Benjamin Britten, and Luciano Berio. He has been a featured guest performer at the Aichi Prefectural University of the Arts (Nagoya, Japan), Piano Moderna (Toronto, Canada), A Thousand Paper Cranes: “New Music Japan” (New York, NY), The June in Buffalo International New Music Festival (Buffalo, NY), Switch~ Ensemble (New York, NY), and many others.As a composer, recent performances include violist Michael Hall premiering his piece for solo viola and the sound chip of the Nintendo Entertainment System, “Atavistic Gizmo Rush”, at the Electronic Music Midwest festival at Lewis University in March 2024 and oboist Megan Kyle and pianist Michael McNeill premiering the first of a planned series of neoclassical sonatas at SUNY Geneseo in April of 2024.Also an experienced teacher, Zane has served as an Adjunct Professor at Clarke University (Dubuque, IA) and as a Guest Instructor of Composition at Butler University in Spring 2024. He is currently teaching at the State University of New York at Buffalo.
Katie Weissman cello
Katie Weissman began playing the cello at the age of three at Buffalo Suzuki Strings after seeing Yo-Yo Ma appear on Sesame Street. She holds a Bachelor of Music in Cello Performance from Boston University, and her principal teachers include Nancy Anderson, Feng Hew, Michael Reynolds, Amanda Truelove, and Roman Mekinulov.When at home in Buffalo, Katie is a cellist and backup singer in the Little Cake Cover Band and is a substitute for the Buffalo Philharmonic Orchestra. She also plays with contemporary music ensemble Wooden Cities, the composition think-tank Evolution of the Arm, free jazz group Root Cellar, folk-rock bands TEOA and Birddog, and various other chamber music outfits in the Western New York area.
She has toured at home and abroad and has lent her playing to many recording projects in the studio, including multiple albums and stage performances by Buffalo's own Goo Goo Dolls.She teaches privately in her own studio and currently lives in Williamsville with her dogs, rabbits, and birds.
Katie Weissman began playing the cello at the age of three at Buffalo Suzuki Strings after seeing Yo-Yo Ma appear on Sesame Street. She holds a Bachelor of Music in Cello Performance from Boston University, and her principal teachers include Nancy Anderson, Feng Hew, Michael Reynolds, Amanda Truelove, and Roman Mekinulov.When at home in Buffalo, Katie is a cellist and backup singer in the Little Cake Cover Band and is a substitute for the Buffalo Philharmonic Orchestra. She also plays with contemporary music ensemble Wooden Cities, the composition think-tank Evolution of the Arm, free jazz group Root Cellar, folk-rock bands TEOA and Birddog, and various other chamber music outfits in the Western New York area.
She has toured at home and abroad and has lent her playing to many recording projects in the studio, including multiple albums and stage performances by Buffalo's own Goo Goo Dolls.She teaches privately in her own studio and currently lives in Williamsville with her dogs, rabbits, and birds.
Jamie Gangemi mezzo soprano
Jamie Gangemi (she/her) is an emerging music director and performer from Buffalo NY. Earning her Bachelor’s in Music Education:Vocal from SUNY Fredonia, she is currently completing her graduate studies in Music Performance: Conducting at the University of Buffalo.A mezzo-soprano, Jamie has appeared in several Buffalo Opera Unlimited productions and will take on the role of Miss Pearl in Joshua’s Boots in May 2025.
She is also a lead singer in the Holy Trinity Chancel Choir, and the Assistant Music Director/Communications Director and Core Singer for new local choir, INCIPIO.
As well as serving as Music Director and Choral Director for the annual musicals at Nardin Academy and Iroquois High School, respectively.Jamie first joined Sotto Voce as Second Spirit in The Magic Flute and The Monitor in Suor Angelica, and served as Choral Director and Stage Manager for Lucia di Lammermoor. She returned in summer 2025 singing the invented role of the “Light Spirit” for Grit and Silk, and premiered new works by Su Lee for K-Life Unplugged.
Jamie Gangemi (she/her) is an emerging music director and performer from Buffalo NY. Earning her Bachelor’s in Music Education:Vocal from SUNY Fredonia, she is currently completing her graduate studies in Music Performance: Conducting at the University of Buffalo.A mezzo-soprano, Jamie has appeared in several Buffalo Opera Unlimited productions and will take on the role of Miss Pearl in Joshua’s Boots in May 2025.
She is also a lead singer in the Holy Trinity Chancel Choir, and the Assistant Music Director/Communications Director and Core Singer for new local choir, INCIPIO. As well as serving as Music Director and Choral Director for the annual musicals at Nardin Academy and Iroquois High School, respectively.Jamie first joined Sotto Voce as Second Spirit in
The Magic Flute and The Monitor in Suor Angelica, and served as Choral Director and Stage Manager for Lucia di Lammermoor. She returned in summer 2025 singing the invented role of the “Light Spirit” for Grit and Silk, and premiered new works by Su Lee for K-Life Unplugged.
Ky VerHoef baritone
Ky VerHoef is a Buffalo-based baritone celebrated for his expressive voice and wide-ranging vocal talents. A versatile soloist, he has performed with esteemed ensembles such as INCIPIO, Avanti, the Lutheran Choral of the Niagara Frontier, the Buffalo Philharmonic Chorus, and Sotto Voce. Ky has also had the privilege of collaborating with notable groups including the Chautauqua Symphony Orchestra, Jazz at Lincoln Center, and the Mormon Tabernacle Choir. In addition to his performance career, he is a staff singer with the Buffalo Philharmonic Chorus and serves as the Programs Director for INCIPIO, where he plays a key role in curating innovative musical experiences. His dedication to both solo and choral music has made him a respected figure in Buffalo’s dynamic arts scene.Ky first joined Sotto Voce as a Priest in their 2024 production of The Magic Flute, served as a flautist and Stage Manager for Suor Angelica, and as a chorus member for Lucia di Lammermoor. He returned in summer 2025, singing the invented role of the “Dark Spirit” in Grit and Silk, and premiered new works by Su Lee for K-Life Unplugged.
Ky VerHoef is a Buffalo-based baritone celebrated for his expressive voice and wide-ranging vocal talents.
A versatile soloist, he has performed with esteemed ensembles such as INCIPIO, Avanti, the Lutheran Choral of the Niagara Frontier, the Buffalo Philharmonic Chorus, and Sotto Voce. Ky has also had the privilege of collaborating with notable groups including the Chautauqua Symphony Orchestra, Jazz at Lincoln Center, and the Mormon Tabernacle Choir. In addition to his performance career, he is a staff singer with the Buffalo Philharmonic Chorus and serves as the Programs Director for INCIPIO, where he plays a key role in curating innovative musical experiences. His dedication to both solo and choral music has made him a respected figure in Buffalo’s dynamic arts scene.Ky first joined Sotto Voce as a Priest in their 2024 production of The Magic Flute, served as a flautist and Stage Manager for Suor Angelica, and as a chorus member for Lucia di Lammermoor. He returned in summer 2025, singing the invented role of the “Dark Spirit” in Grit and Silk, and premiered new works by Su Lee for K-Life Unplugged.
Project Archive
Cross-Cultural Concert Vol.3 (07/26/25)
Selected for the Arts Services Inc.
«Creative Impact Fund»
(Co-presented by Studio frische Klänge & Sotto Voce)musique concrète documentaire K-Life Unplugged
Global x Artist Series No.2 (07/25/25)
Selected for the Arts Services Inc.
«Creative Impact Fund»
(Co-presented by Studio frische Klänge & Sotto Voce)Grit & Silk: The Voices of Gayageum & Debussy
Artist Series No.1 (19/07/25)Lecture Concert Strings of Korea:
The Gayageum from Tradion to Future
Concert Vol.2 (11/29/23)
Selected for the Busan Cultural Foundation
«Arts Value Expansion Support: Time of Reflection»At the Intersection of the Individual & Society,
the Composer Makes a Noise
Concert Vol.1 (09/14/22)
Selected as Featured Ensemble for
«Geumjeong Wednesday Concert Series»Studio frische Klänge Founding Concert ·
Composer Su Lee Lecture-Concert
Selected for the Arts Services Inc. «Creative Impact Fund»
Concert Vol.3 musique concrète documentaire K-Life Unplugged
07/26/25(Sat) 7 PM Unitarian Universalist Church of Buffalo, NY, USA
Selected for the Arts Services Inc.
«Creative Impact Fund»
Concert Vol.3 musique concrète documentaire K-Life Unplugged
07/26/25(Sat) 7 PM
Unitarian Universalist Church of Buffalo, NY
Program
Featured Artists
déjà vu III (2025) for electric guitar and video projectionmusique concrète documentaire Op. 2/a
Rejected Work Title; Of the Same Mind as 1979 & 2019 (2023, rev. 2025)
for cello, piano, and two voices in sprechstimmeFusion Threads (2025) for 25-string gayageum and nylon-string guitarThe Wind That Erodes the Stone (2025)
for amplified 12-string gayageum, nylon-string guitar, and tapemusique concrète documentaire Op. 3/b
Today I am Leaving College. No, I Refuse. (2023, rev. 2025)
for two speakers, virtual interviewee, and piano
«Studio frische Klänge»
Su Lee composer, artistic director/producer
Ji Eun Kim gayageum | Hangyu Bai piano«w/ Buffalo-based guests»
Zane Merritt composer, guitar | Katie Weissman cello«Sotto Voce»
Jamie Gangemi voice | Ky Ver Hoef voice
Alex Huddleston video production | Jessie Downs producer
Program
déjà vu III (2025)
for electric guitar and video projectionmusique concrète documentaire Op. 2/a
Rejected Work Title;
Of the Same Mind as 1979 & 2019 (2023, rev. 2025)
for cello, piano, and two voices in sprechstimmeFusion Threads (2025)
for 25-string gayageum and nylon-string guitarThe Wind That Erodes the Stone (2025)
for amplified 12-string gayageum,
nylon-string guitar, and tapemusique concrète documentaire Op. 3/b
Today I am Leaving College. No, I Refuse.
(2023, rev. 2025)
for two speakers, virtual interviewee, and piano
Featured Artists
«Studio frische Klänge»
Su Lee composer, artistic director/producer
Ji Eun Kim gayageum | Hangyu Bai piano«w/ Buffalo-based guests»
Zane Merritt composer, guitar | Katie Weissman cello«Sotto Voce»
Jamie Gangemi voice | Ky Ver Hoef voice
Alex Huddleston video | Jessie Downs producer
Program Note
Words like K-Pop, K-Food, K-Drama, and K-Culture often highlight the positive aspects of the Korean Wave. However, the title of this concert, K-Life Unplugged, reflects the darker realities hidden beneath the surface. While the self-deprecating term “Hell Joseon” (Joseon: Korea’s former name) is widely known, K-Life takes a step further to critically examine social phenomena, shedding light on issues that demand reflection as members of contemporary society.This project addresses topics such as the freedom of artistic expression, the erosion of the Constitution and liberal democracy due to governmental corruption, and systemic problems in the Korean education system, including the social scapegoating of Seoicho Elementary School’s teacher. These themes are musically interpreted through the composer’s reflections on the challenges faced in Korean society over the past four years since returning to the country.This powerful message is conveyed through the concept of musique concrète documentaire, devised by the composer. It is a new musical approach that combines unprocessed raw sound (musique concrète) with the method of extending it through the use of unconventional timbres (musique concrète instrumentale),
further enhanced by the documentary character based on real events (documentaire). In other words, musique concrète documentaire is an attempt to reconstruct concrete realities into musical language, thereby embedding contemporary society within art.Venue
Unitarian Universalist Church of Buffalo (695 Elmwood Ave, Buffalo, NY 14222)
Words like K-Pop, K-Food, K-Drama, and K-Culture often highlight the positive aspects of the Korean Wave. However, the title of this concert, K-Life Unplugged, reflects the darker realities hidden beneath the surface. While the self-deprecating term “Hell Joseon” (Joseon: Korea’s former name) is widely known, K-Life takes a step further to critically examine social phenomena, shedding light on issues that demand reflection as members of contemporary society.This project addresses topics such as the freedom of artistic expression, the erosion of the Constitution and liberal democracy due to governmental corruption, and systemic problems in the Korean education system, including the social scapegoating of Seoicho Elementary School’s teacher. These themes are musically interpreted through the composer’s reflections on the challenges faced in Korean society over the past four years since returning to the country.This powerful message is conveyed through the concept of musique concrète documentaire, devised by the composer. It is a new musical approach that combines unprocessed raw sound (musique concrète) with the method of extending it through the use of unconventional timbres (musique concrète instrumentale), further enhanced by the documentary character based on real events (documentaire). In other words, musique concrète documentaire is an attempt to reconstruct concrete realities into musical language, thereby embedding contemporary society within art.Venue
Unitarian Universalist Church of Buffalo (695 Elmwood Ave, Buffalo, NY 14222)
Selected for the Arts Services Inc. «Creative Impact Fund»
Global x Artist Series No.2 Grit & Silk: The Voices of Gayageum & Debussy
07/25/25(Fri) 7 PM Calvary Episcopal Church Williamsville, NY, USA
Selected for the Arts Services Inc.
«Creative Impact Fund»
Global x Artist Series No.2 Grit & Silk:
The Voices of Gayageum & Debussy
07/25/25(Fri) 7 PM
Calvary Episcopal Church Williamsville, NY
Gayageum Music Program
Featured Artists
Rainy Day for 25-string Gayageum
(Composed by Sanggu Kang)Arang’s Dream for 25-string Gayageum
(Composed by Gyeok Kim)Chimhyangmu (Dance of the Agarwood)
for 12-string Gayageum
(Composed by Byungki Hwang)
«Sotto Voce»
Beth White Lia, the mother | Tyler Huk Azaël, the son | Brian J. Alvarado Siméon, the father
Jamie Gangemi light angel | Ky Ver Hoef dark angel
Jessie Downs artistic director/producer | Alex Huddleston lighting«Studio frische Klänge» Ji Eun Kim gayageum | Su Lee producer«Avanti Music» Mason Cancilla conductor | Megan Kyle guest oboist«UB Dance Department» Kerry Ring Choreographer
Gayageum Music Program
Rainy Day for 25-string Gayageum
(Composed by Sanggu Kang)Arang’s Dream for 25-string Gayageum
(Composed by Gyeok Kim)Chimhyangmu (Dance of the Agarwood)
for 12-string Gayageum
(Composed by Byungki Hwang)
Featured Artists
«Sotto Voce»
Beth White Lia, the mother | Tyler Huk Azaël, the son | Brian J. Alvarado Siméon, the father | Jamie Gangemi light angel | Ky Ver Hoef dark angel | Jessie Downs artistic director/ producer | Alex Huddleston lighting«Studio frische Klänge»
Ji Eun Kim gayageum | Su Lee producer«Avanti Music»
Mason Cancilla conductor | Megan Kyle guest oboist«UB Dance Department»
Kerry Ring Choreographer
Program Note
Sotto Voce and visiting Korean instrumentalist Ji Eun Kim of Studio frische Klänge present Grit and Silk: The Voices of the Gayageum and Debussy. This program brings together traditional Korean music and French opera to tell a story about the challenges of self-discovery and the healing power of unconditional love.The Gayageum
The gayageum is a traditional Korean plucked zither known for its refined beauty and its ability to express both the sorrow and resilience of the Korean people.
Music played on the gayageum pairs wonderfully with Debussy's unique compositional language, which, already in early works such as L'enfant prodigue, suggests his later empathy with Eastern musics.Three pieces featuring different styles of gayageum music—played on both traditional 12-string and modernized 25-string versions—will be performed by Studio frische Klänge’s Ji Eun Kim. The performance will be accompanied by dance and pantomime, and paired with Debussy’s art songs. These elements will come together in the first half of the evening to form a "Prelude" that elaborates upon the Prodigal Son's journey and highlights the power of motherly empathy and non-judgement.Debussy’s L’enfant prodigue (The Prodigal Son)The centerpiece of this event will be Claude Debussy’s 30-minute opera, L’enfant prodigue (The Prodigal Son). This opera tells the biblical parable of a seemingly
“lost” son returning home to the forgiveness of his parents. Sotto Voce’s unique framing of this beautiful yet rarely heard work will include the aforementioned Prelude, as well as original dances - choreographed by University at Buffalo’s Kerry Ring, and sublime lighting of Calvary Episcopal's intimate sanctuary. The cast - featuring Beth White as the mother (Second Lady, Alisa) and Tyler Huk as the son (Tamino, Normanno) - will be accompanied by Avanti Music’s chamber orchestra, conducted by Mason Cancilla. The haunting sound of the gayageum will also be heard again in uncanny interjections within the opera itself.Reception
The evening of music will be followed by a reception featuring French-Korean fusion food.Venue
Calvary Episcopal Church (20 Milton St, Williamsville, NY 14221)
Sotto Voce and visiting Korean instrumentalist Ji Eun Kim of Studio frische Klänge present Grit and Silk: The Voices of the Gayageum and Debussy. This program brings together traditional Korean music and French opera to tell a story about the challenges of self-discovery and the healing power of unconditional love.The Gayageum
The gayageum is a traditional Korean plucked zither known for its refined beauty and its ability to express both the sorrow and resilience of the Korean people. Music played on the gayageum pairs wonderfully with Debussy's unique compositional language, which, already in early works such as L'enfant prodigue, suggests his later empathy with Eastern musics.Three pieces featuring different styles of gayageum music—played on both traditional 12-string and modernized 25-string versions—will be performed by Studio frische Klänge’s Ji Eun Kim. The performance will be accompanied by dance and pantomime, and paired with Debussy’s art songs.These elements will come together in the first half of the evening to form a "Prelude" that elaborates upon the Prodigal Son's journey and highlights the power of motherly empathy and non-judgement.Debussy’s L’enfant prodigue (The Prodigal Son)
The centerpiece of this event will be Claude Debussy’s 30-minute opera, L’enfant prodigue (The Prodigal Son). This opera tells the biblical parable of a seemingly “lost” son returning home to the forgiveness of his parents. Sotto Voce’s unique framing of this beautiful yet rarely heard work will include the aforementioned Prelude, as well as original dances - choreographed by University at Buffalo’s Kerry Ring, and sublime lighting of Calvary Episcopal's intimate sanctuary. The cast - featuring Beth White as the mother (Second Lady, Alisa) and Tyler Huk as the son (Tamino, Normanno) - will be accompanied by Avanti Music’s chamber orchestra, conducted by Mason Cancilla. The haunting sound of the gayageum will also be heard again in uncanny interjections within the opera itself.Reception
The evening of music will be followed by a reception featuring French-Korean fusion food.Venue
Calvary Episcopal Church (20 Milton St, Williamsville, NY 14221)
Artist Series No.1 Strings of Korea: The Gayageum from Tradition to Future
07/19/25(Sat) 2 PM Unitarian Universalist Church of Buffalo, NY, USA
Artist Series No.1 Strings of Korea:
The Gayageum from Tradition to Future
07/19/25(Sat) 2 PM
Unitarian Universalist Church of Buffalo, NY
Performance Information
Strings of Korea: The Gayageum from Tradition to the FutureA special stage that brings the essence of Korean traditional music to life with a modern sensibility!
This lecture concert, hosted by Studio frische Klänge (SfK), is a unique bridge between tradition and modernity, deeply exploring the beauty and potential of
Korea’s iconic string instrument, the gayageum. This performance, blending live performance and insightful commentary, will offer a fresh perspective and sensibility on Korean music.On this stage, SfK’s lead composer Su Lee presents a profound lecture, while SfK’s gayageum artist Ji Eun Kim delivers vivid live performances.
Together they will explore:• The structure and history of the gayageum,
• The essential differences between Korean traditional music and Western classical music,
• The artistic potential of the gayageum in 21st-century creative music, all brought to life with a variety of musical examples.This lecture concert serves as a preview for two major upcoming performances co-organized by Studio frische Klänge and Sotto Voce:• July 25th(Fri) 7pm Calvary Episcopal Church: Grit & Silk: The Voices of Gayageum & Debussy
• July 26th(Sat) 7pm UUCB: K-Life UnpluggedIt is a special opportunity to build excitement and anticipation for these concerts.
We encourage you to join us for these three performances, starting with the casual concert on July 19th.Venue
Unitarian Universalist Church of Buffalo (695 Elmwood Ave, Buffalo, NY 14222)
Strings of Korea:
The Gayageum from Tradition to the FutureA special stage that brings the essence of Korean traditional music to life with a modern sensibility!
This lecture concert, hosted by Studio frische Klänge (SfK), is a unique bridge between tradition and modernity, deeply exploring the beauty and potential of Korea’s iconic string instrument, the gayageum. This performance, blending live performance and insightful commentary, will offer a fresh perspective and sensibility on Korean music.On this stage, SfK’s lead composer Su Lee presents a profound lecture, while SfK’s gayageum artist Ji Eun Kim delivers vivid live performances.
Together they will explore:• The structure and history of the gayageum,
• The essential differences between Korean traditional music and Western classical music,
• The artistic potential of the gayageum in 21st-century creative music, all brought to life with a variety of musical examples.This lecture concert serves as a preview for two major upcoming performances co-organized by Studio frische Klänge and Sotto Voce:• July 25th(Fri) 7pm Calvary Episcopal Church: Grit & Silk: The Voices of Gayageum & Debussy• July 26th(Sat) 7pm UUCB: K-Life UnpluggedIt is a special opportunity to build excitement and anticipation for these concerts.
We encourage you to join us for these three performances, starting with the casual concert on July 19th.Venue
Unitarian Universalist Church of Buffalo (695 Elmwood Ave, Buffalo, NY 14222)
Selected for the Busan Cultural Foundation «Arts Value Expansion Support: Time of Reflection»
Concert Vol.2 At the Intersection of the Individual & Society, the Composer Makes a Noise
11/29/23(Wed) 7:30 PM Dongnae Cultural Center, Busan, Korea
Selected for the Busan Cultural Foundation «Arts Value Expansion Support: Time of Reflection»
Concert Vol.2
At the Intersection of the Individual & Society, the Composer Makes a Noise
11/29/23(Wed) 7:30 PM
Dongnae Cultural Center, Busan
Program
Featured Artists
In a World Where Being Myself is Not a Reason for Discrimination II (2023)
for alto saxophone & hornmusique concrète documentaire Op. 2(a)
Rejected Work Title; Of the Same Mind as 1979 & 2019 (2023) for violin & pianoBang One's Head Against a Brick Wall (2023) for gayageum & dancerTo be Silent is to be Complicit. (2023) for electric guitar & dancermusique concrète documentaire Op. 3(a)
Today I am Leaving College. No, I Refuse. (2023) for two speakers & virtual interviewee
«Studio frische Klänge»
Su Lee director · composer
Daehoon Kim alto saxophone | Sunghyon Jo horn | Ye-ji Kang violin
Jung-woon Sim piano | Ji Eun Kim gayageum
Myung Kwan Shin dance | Bo Eun Kim dance
Seong-bok Kim speaker(baritone) | Sun Hong Woo speaker(soprano)«Guest Musician»
Hyunjin Jung tape | Jong Goon Kim electric guitar
Program
In a World Where Being Myself is
Not a Reason for Discrimination II (2023)
for alto saxophone and hornmusique concrète documentaire Op. 2(a)
Rejected Work Title;
Of the Same Mind as 1979 & 2019 (2023)
for violin and pianoBang One's Head Against a Brick Wall (2023)
for gayageum and dancerTo be Silent is to be Complicit. (2023)
for electric guitar and dancermusique concrète documentaire Op. 3(a)
Today I am Leaving College. No, I Refuse. (2023)
for two speakers and virtual interviewee
Featured Artists
«Studio frische Klänge»
Su Lee director · composer
Daehoon Kim alto saxophone | Sunghyon Jo horn
Ye-ji Kang violin | Jung-woon Sim piano
Ji Eun Kim gayageum Myung Kwan Shin dance
Bo Eun Kim dance | Sun Hong Woo speaker(soprano)
Seong-bok Kim speaker(baritone)«Guest Musician»
Hyunjin Jung tape | Jong Goon Kim electric guitar
Program Note
At the Intersection of the Individual & Society, the Composer Makes a Noise expands the composer’s personal experiences into broader social issues, shedding light on questions that must be examined as a member of contemporary society. The concert is approached as one large-scale work, minimizing disjunction between programs and seeking collaboration with other art forms such as dance, media, and theater.The term musique concrète documentaire was coined by the composer herself, derived from the terms musique concrète and musique concrète instrumentale meaning composition type or style.musique concrete: This concept was introduced by the French composer Pierre Shaeffer in the early 1940s, in an attempt to distinguish it from music based on the abstract medium of notation. This means music made using so-called 'sound objects' rather than vocal/instrumental music played through sheet music. Sound objects are recorded concrete sounds, in other words, all the types of sounds heard in everyday life. This includes noise, so even raw sounds can become musical materials, and the raw recorded materials are transformed and distorted through tape music technology.musique concrète instrumentale: A style pioneered by German composer Helmut Lachenmann in the late 1960s and early 1970s. The concept is that the method and process of producing sound with an acoustic instrument are as important as the resulting sound. Questions are raised regarding the sound (music) of the past and the sound is explored through the noise effect transmitted in concrete/specific situations, such as the actions that must be taken during performance. Mainly using unconventional playing and notation methods, the scalability of sound is expanded, and a comprehensive sound is pursued.musique concrète documentaire is a concept that adds ‘concreteness’, in the sense of an incident based on reality (concrete), on top of the above two concepts.
In other words, it is a concept that originates from the following aspects.1) compositional/sound material (musique concrète, - instrumentale)
2) composer’s actual experience which supports the work’s thematic consciousness (concrete incident)
3) a record of the musical/performing act and concrete incident (documentaire)Especially, Rejected Work Title; Of the Same Mind as 1979 & 2019 and Today I am Leaving College. No, I Refuse. are each paradoxical mixture of certain meta elements (such as surrealism) and kitsch and are the result of a combination of the absurdity of reality and the music that perceives (recognizes) it.The reason why the composer is willing to make a noise that may be uncomfortable is because the intrinsic attribute of a work of art is ‘abstractness’,
but a work of art is also an analysis of the reality faced by the composer.
At the Intersection of the Individual & Society, the Composer Makes a Noise expands the composer’s personal experiences into broader social issues, shedding light on questions that must be examined as a member of contemporary society. The concert is approached as one large-scale work, minimizing disjunction between programs and seeking collaboration with other art forms such as dance, media, and theater.The term musique concrète documentaire was coined by the composer herself, derived from the terms musique concrète and musique concrète instrumentale meaning composition type or style.musique concrete: This concept was introduced by the French composer Pierre Shaeffer in the early 1940s, in an attempt to distinguish it from music based on the abstract medium of notation. This means music made using so-called 'sound objects' rather than vocal/instrumental music played through sheet music. Sound objects are recorded concrete sounds, in other words, all the types of sounds heard in everyday life. This includes noise, so even raw sounds can become musical materials, and the raw recorded materials are transformed and distorted through tape music technology.musique concrète instrumentale: A style pioneered by German composer Helmut Lachenmann in the late 1960s and early 1970s. The concept is that the method and process of producing sound with an acoustic instrument are as important as the resulting sound. Questions are raised regarding the sound (music) of the past and the sound is explored through the noise effect transmitted in concrete/specific situations, such as the actions that must be taken during performance. Mainly using unconventional playing and notation methods, the scalability of sound is expanded, and a comprehensive sound is pursued.musique concrète documentaire is a concept that adds ‘concreteness’, in the sense of an incident based on reality (concrete), on top of the above two concepts.
In other words, it is a concept that originates from the following aspects.1) compositional/sound material (musique concrète, - instrumentale)
2) composer’s actual experience which supports the work’s thematic consciousness (concrete incident)
3) a record of the musical/performing act and concrete incident (documentaire)Especially, Rejected Work Title; Of the Same Mind as 1979 & 2019 and Today I am Leaving College. No, I Refuse. are each paradoxical mixture of certain meta elements (such as surrealism) and kitsch and are the result of a combination of the absurdity of reality and the music that perceives (recognizes) it.The reason why the composer is willing to make a noise that may be uncomfortable is because the intrinsic attribute of a work of art is ‘abstractness’, but a work of art is also an analysis of the reality faced by the composer.
[Teaser] At the Intersection of the Individual & Society, the Composer Makes a Noise
[Teaser] At the Intersection of the Individual & Society,
the Composer Makes a Noise
Selected as Featured Ensemble for «Geumjeong Wednesday Concert Series»
Concert Vol.1 & 791st Geumjeong Wednesday Concert
Studio frische Klänge Founding Concert · Composer Su Lee Lecture-Concert
09/14/22(Wed) 7:30 PM Geumjeong Cultural Center, Busan, Korea
Selected as Featured Ensemble for
«Geumjeong Wednesday Concert Series»
Concert Vol.1
Studio frische Klänge Founding Concert · Composer Su Lee Lecture-Concert
09/14/22(Wed) 7:30 PM
Geumjeong Cultural Center, Busan
Program
Featured Artists
In a World Where Being Myself is Not a Reason for Discrimination (I) (2022) for alto saxophone soloStudie (2021, rev. 2022) for amplified 25-string gayageumEgalitarianism (2022) for piano triomusique concrète documentaire (Op. 1)
Yeah, I Have a Tatoo. So What? (2022) for six musiciansWe’re Marching On (2019) for four-part choir and pianoMother Nature (2022) for choir and piano
*Commissioned Work by the Pusan National University ChoirSteps to a New Dawn (2022) for choir and small ensemble
«Studio frische Klänge»
Su Lee lecture · composer
Daehoon Kim alto saxophone
Ji Eun Kim gayageum
Ye-ji Kang violin
Geumbin Lee cello
Jung-woon Sim piano
Seong-bok Kim conductor«Special Appearance»
Pusan National University Chorus (PNU Chorus)
Seong-bok Kim conductor
Chaeun Lee piano accompaniment
Program
In a World Where Being Myself is
Not a Reason for Discrimination (I) (2022)
for alto saxophone soloStudie (2021, rev. 2022)
for amplified 25-string gayageumEgalitarianism (2022)
for piano triomusique concrète documentaire (Op. 1)
Yeah, I Have a Tatoo. So What? (2022)
for six musiciansWe’re Marching On (2019)
for four-part choir and pianoMother Nature (2022) for choir and piano
*Commissioned by the PNU ChoirSteps to a New Dawn (2022)
for choir and small ensemble
Featured Artists
«Studio frische Klänge»
Su Lee lecture · composer
Daehoon Kim alto saxophone | Ji Eun Kim gayageum
Ye-ji Kang violin | Geumbin Lee cello
Jung-woon Sim piano | Seong-bok Kim conductor«Special Appearance»
Pusan National University Chorus (PNU Chorus)
Seong-bok Kim conductor
Chaeun Lee piano accompaniment
Program Note
Studio frische Klänge (hereafter SfK): The Laboratory of Fresh Sounds is a contemporary music composition and performance collective founded in Busan, Korea,
in late 2021. Its debut came with its selection as a featured ensemble for the Geumjeong Wednesday Concert Series.SfK pursues New Music and artistic innovation, aiming to create an artistic language that reflects the context of our time and to convey social and cultural messages through music. Modeled after European contemporary music ensembles, composers and performers are integrated into the collective, participating in both the planning and realization of projects. Through this unique collaborative approach, SfK seeks to bring fresh vitality to the field of contemporary music.The founding director and principal composer, Su Lee, following the successful lecture-concert Critical Listening (May 30, 2021, Geumjeong Cultural Center), presented Critical Composition in 2022. This project addressed pressing issues in the contemporary music scene and among composers and musicians—such as the social function and role of contemporary music, or the dilemmas between popularity and artistry. Critical Composition was performed in the format of a lecture-concert, supplemented with audiovisual materials and commentary for the audience’s understanding.The works featured in this concert each intersect artistic experimentation with social reflection.In a World Where Living as Myself Is Not a Reason for Discrimination, for alto saxophone, conveys critical awareness of discrimination and hate embedded in everyday life in Korean society, focusing particularly on the absence of human rights, gender sensitivity, empathy, and compassion in Korean Protestantism.Studie, for amplified 25-string gayageum, originated from the composer’s search for new approaches amid the strong traditional identity of Korean instruments and the over-familiar clichés of extended techniques in contemporary music.Egalitarianism, in memory of Dutch composer Louis Andriessen (who passed away in July 2021), was inspired by the concept of his influential work Workers Union, which combines individual freedom with strict discipline. Unlike a traditional piano trio, the three instruments unfold in equal roles without hierarchy or subordination, sharing identical figures, parameters, and rhythmic density.We're Marching On, for four-part choir and piano (the original was for choir and organ), sets the English lyrics of March for the Beloved in a modern idiom to introduce the history of Korean democracy to American choirs. Frequent meter changes, dissonances, and irregular accents are used intentionally to disrupt any sense of
“familiar flow,” creating a sound that is both intense and direct.The composer, having been forced to return abruptly to Korea from the United States at the onset of the COVID-19 pandemic in early 2020, and after personally suffering from the illness for several months, realized that environmental issues affect not only one’s artistic career but also health and daily life in the most personal way.
Mother Nature is both a shameful confession of having neglected environmental concerns during those years and a prayer asking forgiveness from God for humanity’s greed and ignorance in destroying nature.The final piece, Steps to a New Dawn, was inspired by poet Choi Seok-gyun’s Shining Steps, particularly the line:
“…Though the Great Opening has not yet come… there are steps leading toward the dawn…”SfK’s founding concert seeks to present questions on contemporary social realities and human values through the language of music, inviting the audience into shared critical reflection and artistic experience.Venue
Eunbit Saem Hall, Geumjeong Cultural Center, 7, Sports Park-ro, Geumjeong-gu, Busan
Studio frische Klänge (hereafter SfK): The Laboratory of Fresh Sounds is a contemporary music composition and performance collective founded in Busan, Korea, in late 2021. Its debut came with its selection as a featured ensemble for the Geumjeong Wednesday Concert Series.SfK pursues New Music and artistic innovation, aiming to create an artistic language that reflects the context of our time and to convey social and cultural messages through music. Modeled after European contemporary music ensembles, composers and performers are integrated into the collective, participating in both the planning and realization of projects. Through this unique collaborative approach, SfK seeks to bring fresh vitality to the field of contemporary music.The founding director and principal composer, Su Lee, following the successful lecture-concert Critical Listening (May 30, 2021, Geumjeong Cultural Center), presented Critical Composition in 2022. This project addressed pressing issues in the contemporary music scene and among composers and musicians—such as the social function and role of contemporary music, or the dilemmas between popularity and artistry. Critical Composition was performed in the format of a lecture-concert, supplemented with audiovisual materials and commentary for the audience’s understanding.The works featured in this concert each intersect artistic experimentation with social reflection.In a World Where Living as Myself Is Not a Reason for Discrimination, for alto saxophone, conveys critical awareness of discrimination and hate embedded in everyday life in Korean society, focusing particularly on the absence of human rights, gender sensitivity, empathy, and compassion in Korean Protestantism.Studie, for amplified 25-string gayageum, originated from the composer’s search for new approaches amid the strong traditional identity of Korean instruments and the over-familiar clichés of extended techniques in contemporary music.Egalitarianism, in memory of Dutch composer Louis Andriessen (who passed away in July 2021), was inspired by the concept of his influential work Workers Union, which combines individual freedom with strict discipline. Unlike a traditional piano trio, the three instruments unfold in equal roles without hierarchy or subordination, sharing identical figures, parameters, and rhythmic density.We're Marching On, for four-part choir and piano (the original was for choir and organ), sets the English lyrics of March for the Beloved in a modern idiom to introduce the history of Korean democracy to American choirs. Frequent meter changes, dissonances, and irregular accents are used intentionally to disrupt any sense of “familiar flow,” creating a sound that is both intense and direct.The composer, having been forced to return abruptly to Korea from the United States at the onset of the COVID-19 pandemic in early 2020, and after personally suffering from the illness for several months, realized that environmental issues affect not only one’s artistic career but also health and daily life in the most personal way. Mother Nature is both a shameful confession of having neglected environmental concerns during those years and a prayer asking forgiveness from God for humanity’s greed and ignorance in destroying nature.The final piece, Steps to a New Dawn, was inspired by poet Choi Seok-gyun’s Shining Steps, particularly the line: “…Though the Great Opening has not yet come… there are steps leading toward the dawn…”SfK’s founding concert seeks to present questions on contemporary social realities and human values through the language of music, inviting the audience into shared critical reflection and artistic experience.Venue
Eunbit Saem Hall, Geumjeong Cultural Center
7, Sports Park-ro, Geumjeong-gu, Busan
musique concrète documentaire (Op. 1)
Yeah, I Have a Tatoo. So What? (2022) for six musicians
musique concrète documentaire (Op. 1)
Yeah, I Have a Tatoo. So What? (2022)
for six musicians
We’re Marching On (2019) for four-part choir and piano
We’re Marching On (2019)
for four-part choir and piano
Donate
Resonance Created Together,
Value Shared Together
Studio frische Klänge is a creative collective that transforms contemporary social issues and artistic imagination into music,
building new forms of empathy together with its audience.Your support goes beyond a single piece of music or a single performance—
it becomes a step toward creating greater social value and artistic experimentation.
Studio frische Klänge is a creative collective that transforms contemporary social issues and artistic imagination into music, building new forms of empathy together with its audience.Your support goes beyond a single piece of music
or a single performance—it becomes a step toward
creating greater social value and artistic experimentation.
Individual Support• You may participate through a one-time or recurring donation.
• Donor names will be listed in the concert program,
and those who contribute above a certain amount will receive complimentary concert tickets.
Individual Support• You may participate through a one-time
or recurring donation.
• Donor names will be listed in the concert program,
and those who contribute above a certain amount
will receive complimentary concert tickets.
Corporate Sponsorship & Support• Logos will be featured on programs, posters, and the website.
• Depending on the level of support, complimentary concert tickets and various benefits will be provided.
Corporate Sponsorship & Support• Logos will be featured on programs,
posters, and the website.
• Depending on the level of support, complimentary
concert tickets and various benefits will be provided.
How to Support
• You can support us through Venmo.
• Checks also can be sent to: 510 Bird Ave, Apt. 5, Buffalo, NY 14222• Inquiries: [email protected]
How to Support
• You can support us
through Venmo.
• Checks also can be sent to:
510 Bird Ave, Apt. 5, Buffalo, NY 14222• Inquiries: [email protected]
Membership
Seeking Colleagues
To Create Together, To Grow Together!
Seeking Colleagues
To Create Together,
To Grow Together!
Studio frische Klänge is recruiting fellow members who will share artistic vision and public values
while pioneering new creative worlds together.
Membership Eligibility• Hold a bachelor’s degree or higher in an arts-related field
• Possess expertise in at least one of the following areas:– Composition / Performance (including Western instruments, Korean traditional instruments, and vocal music)
– Dance / Performance Art
– Film & Multimedia Art
– Theater / Directing / Stage Arts
– Sound Art / Electronic Music• Inquiries: [email protected]
Membership Eligibility• Hold a bachelor’s degree
or higher in an arts-related field
• Possess expertise in at least one of
the following areas:– Composition / Performance
(including Western instruments, Korean traditional instruments, and vocal music)
– Dance / Performance Art
– Film & Multimedia Art
– Theater / Directing / Stage Arts
– Sound Art / Electronic Music• Inquiries: [email protected]