Sungji Hong composer

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Reviews

“It’s an original and inspired setting...”

“...A work of iridescent freshness.”

“...utterly luminous.”

“...Sungji Hong’s “Missa Lumen de lumine”, a virtuoso exploration of the technical and sonorous possibilities of three high voices.”

"Hong uses register and spacing among the voices to marvelous effect.”

"It's amazing how large three voices can sound. Without any instrumentation..."

“In the case of this new piece it is interesting to play ‘spot the influences’ while at the same time realising what an unusual voice this composer has."

“It’s an original and inspired setting, contrasting with Byrd’s version of the same text…”

Stephen Layton, Director of Music at the Temple church on ‘Emendemus in melius’

“Hong’s setting of the ordinary is firmly based on earlier models, but—by comparison with the rest of the music here—both more harmonically advanced and considerably more contrapuntal than the older music. The sound is, like the performances, utterly luminous. Texts for all the music performed except that of the Mass. No translations, but it doesn’t really matter. This is an outstandingly beautiful disc.”

John Story, Fanfare Magazine (Jan/Feb 2006) on ‘Missa Lumen de lumine'

“Hong's radiant Mass does explore some harmonies and vocal colors that would have been foreign to the composers of many centuries past, yet its direct expressive aim and contemplative clarity make it an eloquent complement to early sacred music.”

Scott Paulin, Barnes & Noble on ‘Missa Lumen de lumine'

“The mass is not a neo-medieval piece but includes a variety of references to medieval styles: parallel harmonies, and syncopated rhythms of the sort found in Machaut's mass, for instance. Even within the restrictions imposed by the act of writing for three unaccompanied women's voices, Hong responds to the texts of the Mass Ordinary in amazingly flexible ways. Pictorial effects are present in abundance but are always subtly done; consider the mood of quiet confidence exuded by the music for Christ's resurrection in the Credo, so different from the usual ascending scales attached to the words "Et resurrexit." Hong uses register and spacing among the voices to marvelous effect. Stella Maris thus introduces a major new work that could well be taken up by other female vocal ensembles. ECM's sound engineering shines in this minimal setting.”

James Manheim, Barnes & Noble on ‘Missa Lumen de lumine'

"Missa Lumen de Lumine," might seem daunting to many experienced vocalists with its built in dissonance and arching vocals, yet the Trio was up for the challenge. The sopranos vocals built tension through vocal entanglement and release when voices are permitted to soar to the rafters. It's amazing how large three voices can sound. Without any instrumentation, not even an organ booming in the background, Friman, Ostrem Ossum and Fuglseth build large fortresses with their voices or send their voices floating like a feather in a breeze. The vocals on this recording are expressive, somewhat haunting, yet more earthbound than ethereal. All these contradictions add to the excitement of hearing this trio of delightful vocalists perform.”

Patty-Lynne Herlevi, World Music Central on ‘Missa Lumen de lumine'

“Sungji Hong’s Mass Lumen da lumine was written for the Trio Mediaeval in 2002. By subtly exploiting complex vocal tessituras, the 30-minute composition creates exquisite sonorities. It constantly explores colours, images and timbres. Only the attentive listener will immediately identify this as contemporary music: Obviously it takes its departure from the many late medieval settings of the Mass Ordinary. Although Hong trained with avant-garde composers like Ferneyhough and Hosokawa, her music always remains accessible.”
Muzyka Dawna, BLUE NOTE PRZECENA on ‘Missa Lumen de lumine'

“In the case of this new piece it is interesting to play ‘spot the influences’ while at the same time realising what an unusual voice this composer has. The booklet notes can help. I won’t go into it in much detail but will just say how much I enjoyed this Mass especially the Gloria. This expands out of a single quasi-plainsong monody into rich, flowering three-part counterpoint which has a touch of the oriental pentatonic about it and sometimes a touch of organum. Often this music has typically folksy, modal lines and rhythms and then takes on chromatic inflections without ever seeming obviously to modulate. There is word-painting which may highlight certain phrases but does not express them emotionally in a romantic or literal sense as in the wonderful setting of ‘Cricifixus etiam pro nobis’ in the Creed. In other sections counterpoint predominates and at times a searching homophony is in the ascendant. The keening opening of the Sanctus is also memorable. The only sadness is that I cannot imagine this Mass, because it needs three outstanding performers, ever being performed liturgically.

I must add that the Trio Medieval is superb and the discipline learned from medieval music pays off abundantly in the Sungji Hong piece. The recording is always clear, rich and superb.”

Gary Higginson, October 2005 MusicWeb on ‘Missa Lumen de lumine'

“Sungji Hong's Black Arrow, for bass clarinet and tape, was getting a first hearing. It had fantasy, colour and drive.”

Nottinghm evening post