홍성지 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.”

"Sungji Hong's mass "Lumen de Lumine" showcases the piercing heights and soulful depths of the trio's art."

"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."

"작곡가 진은숙씨가 진행하는 서울시향의 현대음악 프로젝트 ‘아르스노바’는 지나 3년간 놀랄만큼 많은 곡을 초연했다. 이 시리즈의 세번째 위촉작인 홍성지 (35)씨의 피아노와 오케스트라를 위한 프리즈마틱이 25일 세종문화화관 체임버홀에서 세계초연되었다. 저음악기 튜바와 트롬본이 포함된 22명의 오케스트라와 피아노솔로 (협연 임수연)가 연주한 이 작품은 ‘보는 각도에 따라 달라지는 빛’ 또는 일곱빛깔 무지개 색’이라는 뜻의 제목에 걸맞게 현란한 색채감각이 돋보이는 곡이다. 소리는 저음에서 으르렁대는 피아노로 시작해 낮고 무겁게 뭉쳤다가 높고 날카롭게 날아오른다. 최고음과 처저음을 오가는 급상승과 급강하가 현기증을 일으키고, 그 과정에서 나타나는 강렬한 대조와 끓어오르는 에너지가 다양한 색채를 화려하게 빛어낸다. 매우 흥미롭고 근사하지만 연주하기엔 몹시 까다로운 이 곡을 서울시향은 훌륭하게 소화해 큰 박수를 받았다.

색채는 홍성지 음악의 핵심이다. 그는 “소리에 색을 입히는것이 목표”라며 “내음악이 강렬하게 채색되고, 물결치고 행동하는 색채로 들리길 원한다”고 말한다. 거기엔 빨강 파랑 금색 등 강렬한 원색을 쓰는 그리스정교의 이콘 (성화)에 대한 관심과, 색채를 추구했던 메시앙 등 프랑스 작곡가들의 영향이 작용했다고 한다."

오미환, 한국일보 (29 October 2008) on ‘Prismatic’

“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 (January 2005) 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'

"In Ms. Hong’s setting the antique influences were melodic, and the harmonies and fluid dynamics modern. Mr. Bryars’s work could almost have passed as medieval, with only the faintest hints of contemporary harmony to betray it. The rest of the trio’s set — beautifully blended renderings of 13th-century English sacred settings and Norwegian folk songs — sounded fresh and alive."

Allan Kozinn, New York Times (30 March 2007)

“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  (2006) on ‘Missa Lumen de lumine'

"Sungji Hong's mass "Lumen de Lumine" showcases the piercing heights and soulful depths of the trio's art."

Marion Lignana Rosenberg, vilaine fille (10 November 2005) 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  (3 March 2006) 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, MusicWeb (October 2005) 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 (17 July 2007) on ‘Black Arrow’

"This concert by the contemporary ensemble Concorde presented works by Finnish, Korean, Irish and Italian composers, including two Irish premieres and one world premiere.
The concert closed with the Irish premiere of the 2006 Shades of Raindrops by Korean composer Sungji Hong. Contrary to its title, suggesting pastels and impressionism, this was cool music whose opening high-pitched long notes returned periodically to punctuate outbursts of rhythmic energy and to effect seamless transitions between tranquility and animation."

Michael Dungan, The Irish Times (24 November 2009) on 'Shades of Raindrops'