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비평기사

  
         
       
       비평기사    
         
         
    "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’		    
         
         
    "세종체임버홀이 좁게 느껴질 만큼 거대한 물결을 이끌며 그의 음악은 시종 다양한 표정으로 청중의 기대를 충족해갔다, 오케스트레이션 자체도 흥미로웠으며 악들의 끝없이 새로운 조합들은 홍성지가 가진 음악세계의 폭을 가늠하기 어렵게했다."
유영희, Seoul Philharmonic Orchestra (December 2008) on ‘Prismatic’		    
         
         
    "강렬한 대조와 끓어오르는 에너지가 다양한 색채를 화려하게 빛어낸다."
오미환, 한국일보 (29 October 2008) on ‘Prismatic’		    
         
         
    "It had fantasy, colour and drive."
Nottingham evening post (17 July 2007) on ‘Black Arrow’		    
         
         
    "In Ms. Hong’s setting the antique influences were melodic, and the harmonies and fluid dynamics modern."
Allan Kozinn, The New York Times (30 March 2007) on ‘Missa Lumen de lumine'		    
         
         
    "The Kyrie begins polyphonically, with each voice entering in a low range then developing into three-part sections, some marked by extremely close harmonies. The Agnus Dei begins with a high cluster of intervals of a second, and features a low unison, blossoming upward into similar clusters."
Anna Carol Dudley, San Francisco Classical Voice (25 March 2007) on ‘Missa Lumen de lumine'		    
         
         
    "The soprano’s 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."
Patty-Lynne Herlevi, World Music Central (3 March 2006) on ‘Missa Lumen de lumine'		    
         
         
    "a work of iridescent freshness."
Barry Witherden, BBC Music Magazine on ‘Missa Lumen de lumine'		    
         
         
    "The sound is utterly luminous."
John Story, Fanfare Magazine (Jan/Feb 2006) on ‘Missa Lumen de lumine'		    
         
         
    "By subtly exploiting complex vocal tessituras, the 30-minute composition creates exquisite sonorities. It constantly explores colours, images and timbres."
Muzyka Dawna, BLUE NOTE PRZECENA on ‘Missa Lumen de lumine'		    
         
         
    " Hong uses register and spacing among the voices to marvelous effect."
James Manheim, BMG-Music Service (2006) on ‘Missa Lumen de lumine'		    
         
         
    "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'		    
         
         
    "홍성지의 <루멘 데 루미네> 미사는 트리오 메디에발을 위해 쓰여진 곡으로, 여성 보컬의 복잡한 테시투라를 미묘하게 이용하면서 30여분 동안 정교한 소노리티를 창조하고 있다. 색채감과 이미지 그리고 질감들을 끊임없이 탐험해 나가는 이 곡은 중세 후기의 통상 미사의 전형적인 세팅을 출발점으로 삼고 있어 난해하지 않은 신선하고 아름다운 곡이다."
Ivan Moody, Gramophone (December 2005) 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'		    
         
         
    "a virtuoso exploration of the technical and sonorous possibilities of three high voices."
Elizabeth Roche, Daily Telegraph (8 Oct 2005) on ‘Missa Lumen de lumine'		    
         
         
    "The ringing tones and soaring harmonies take us to a sublime soundscape of wonder and meditation."
Premarily a cappella on ‘Missa Lumen de lumine'		    
         
         
    "The mass’s sometimes chromatic, otherworldly sonorities contrast beautifully with what preceded them, opening a mystical doorway to realms where Spirit resonates in pure, soaring tone."
Jason Victor Serinus, Spirit of Change on ‘Missa Lumen de lumine'		    
         
         
    "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’		    
         
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    "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’		    
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    "이날 눈에 띄는 작곡가는 한국의 홍성지가 아닐까 싶다. 서울시향의 위촉으로 작곡한 피아노와 오케스트라를 위한 ‘프리즈마틱’이 피아니스트 임수현의 협연으로 세계초연 되었다. 세종체임버홀이 좁게 느껴질 만큼 거대한 물결을 이끌며 그의 음악은 시종 다양한 표정으로 청중의 기대를 충족해갔다, 오케스트레이션 자체도 흥미로웠으며 악들의 끝없이 새로운 조합들은 홍성지가 가진 음악세계의 폭을 가늠하기 어렵게했다. 강하지만 거칠지 않고 작은 다이내믹에서도 늦추지 않게했다."
유영희, Seoul Philharmonic Orchestra (December 2008) on ‘Prismatic’		    
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    "작곡가 진은숙씨가 진행하는 서울시향의 현대음악 프로젝트 ‘아르스노바’는 지난 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’		    
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    "A Professional contemporary group right on one's doorstep is a cause for celebration. Between them they showcased British, American, Italian and Korean composers. Their virtuosity - and insight into a wide spectrum of techniques - made just about every item engrossing. Sungji Hong's Black Arrow, for bass clarinet and tape, was getting a first hearing. It had fantasy, colour and drive."
Nottingham evening post (17 July 2007) on ‘Black Arrow’		    
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    "That theory was hard to test during the Trio Mediaeval’s set, because both works written for the group — the Kyrie from Sungji Hong’s “Missa Lumen de Lumine” (2002) and Gavin Bryars’s “Ave Regina Gloriosa” (2003) — consciously borrowed medieval elements.
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 13thcentury English sacred settings and Norwegian folk songs — sounded fresh and alive."
Allan Kozinn, The New York Times (30 March 2007) on ‘Missa Lumen de lumine'		    
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    "In singing medieval music, the singers have created a unique sound and style that has inspired new compositions created for them. Korean composer Sungji Hong wrote a Mass for the Trio, Missa Lumen de Lumine, from which they sang the opening and closing sections in this performance. The Kyrie begins polyphonically, with each voice entering in a low range then developing into three-part sections, some marked by extremely close harmonies. The Agnus Dei begins with a high cluster of intervals of a second, and features a low unison, blossoming upward into similar clusters."
Anna Carol Dudley, San Francisco Classical Voice (25 March 2007) on ‘Missa Lumen de lumine'		    
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    "Trio Mediaeval's third recording, Stella Maris was released on ECM Records during the fall of 2005 and is distributed by Universal Classics in the U.S. Similar to other ECM recordings I have heard, Stella Maris also contains provocative music. The first half of the recording features sacred songs of 13th century England and France. And the second half of the recording, features contemporary sacred compositions, (Catholic mass) written by Korean composer and academic Sungji Hong.
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 soprano’s 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'		    
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    "The Korean composer Sungji Hong wrote her Missa Lumen de Lumine especially for the Trio in 2002, and it fits them perfectly. Elements of medieval style are deftly woven together with modern grammar and gestures to produce a work of iridescent freshness."
Barry Witherden, BBC Music Magazine on ‘Missa Lumen de lumine'		    
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    "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'		    
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    "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'		    
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    "Regardless of one's tastes, the inclusion of Hong's Missa Lumen de Lumine is welcome. Written especially for Trio Mediaeval, the mass is not a neomedieval 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, BMG-Music Service (2006) on ‘Missa Lumen de lumine'		    
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    "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. As for the first half of Stella Maris, it offers a well-chosen variety of French and English works, most in the form of conductus (featuring a strong rhythmic component rather than chant-like freedom). Some are florid, some are simple, some are almost architectural in their grandeur, but Trio Mediaeval illuminates them all with a vocal purity and intensity that brightly outshines the current competition."
Scott Paulin, Barnes & Noble (2006) on ‘Missa Lumen de lumine'		    
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    "북미를 중심으로 대단한 성곡을 누린 트리오 메디에발이 이번 새로운 앨범에서는 영국과 프랑스의 12-13세기 음악과 1973년에 태어난 한국의 현대 작곡가 홍성지의 음악을 대비 시키고 있다.
홍성지의 <루멘 데 루미네> 미사는 트리오 메디에발을 위해 쓰여진 곡으로, 여성 보컬의 복잡한 테시투라를 미묘하게 이용하면서 30여분 동안 정교한 소노리티를 창조하고 있다. 색채감과 이미지 그리고 질감들을 끊임없이 탐험해 나가는 이 곡은 중세 후기의 통상 미사의 전형적인 세팅을 출발점으로 삼고 있어 난해하지 않은 신선하고 아름다운 곡이다."
Ivan Moody, Gramophone (December 2005) on ‘Missa Lumen de lumine'		    
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    "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'		    
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    "The word “mellifluous” might almost have been coined to describe the distinctively pure, cool sound of Trio Mediaeval’s three female voices. It has an alluring quality all its own, which makes everything they sing – from the earliest polyphony to newly composed pieces which, to some extent, inhabit the same sound-world – wonderfully rewarding to listen to.The mediaeval contribution here consists of a sequence of 12th- and 13th-century settings, often in delightfully lilting triple time, which neatly demonstrate the contrast between the celebrated sweetness of the predominantly chordal English style and the more dissonant and contrapuntal Parisian manner of such pieces as Perotin’s “Dum sigillum”. These are complemented by Sungji Hong’s “Missa Lumen de lumine”, a virtuoso exploration of the technical and sonorous possibilities of three high voices."
Elizabeth Roche, Daily Telegraph (8 Oct 2005) on ‘Missa Lumen de lumine'		    
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    "Anna, Linn and Torunn, the 3 beautiful women who are Oslo, Norway’s brilliant, ethereal Trio Mediaeval, bring us their second CD. The group’s chosen repertoire of polyphonic medieval music from England and France, and contemporary works is represented here by 7 haunting polyphonic pieces from 12th and 13th century England (favorites being 2 odes to the Virgin Mary, "Flos regalis virginalis" and "O Maria, stella maris;" the group-arranged "Dou way Robyn/Sancta Mater," and 3- voice conductus "Veni creator spiritus" and "Beata viscera;" and 2-voice conductus "Dum sigillum." In addition there are the 5 movements of a contemporary work by Korean composer Sungji Hong, "Missa Lumen de Lumine," dedicated to Trio Mediaeval and written for 3 voices. The ringing tones and soaring harmonies take us to a sublime soundscape of wonder and meditation."
Premarily a cappella on ‘Missa Lumen de lumine'		    
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    "The three women of Norway’s Trio Mediaeval specialize in polyphonic medieval music from England and France, Norwegian medieval songs and ballads, and contemporary works. Here they charm the ear and lift the spirit with a disembodied, all-enveloping sound that, abetted by ECM’s airy acoustic, bespeaks heavenly purity.
After performing eight sacred medieval compositions, all but one by anonymous composers, the trio presents a new work written especially for them, “Missa Lumen de Lumine” (2002) by Korean composer Sungji Hong. The mass’s sometimes chromatic, otherworldly sonorities contrast beautifully with what preceded them, opening a mystical doorway to realms where Spirit resonates in pure, soaring tone. The ensemble everywhere distinguishes itself with fluid, vibrato-less vocalism, exceptional freedom on high notes, and a willingness to invest their music with dynamics and passion."
Jason Victor Serinus, Spirit of Change on ‘Missa Lumen de lumine'		    
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    "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’		    
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       신문기사    
         
         
   
ELDIA 2010년5월5일
엘디야 구아다하라, 스페인
   
         
         
   
NUEVA ALCARRIA 2010년 5월5일
누에바 알카리야, 스페인
   
         
         
   
Hankook Ilbo 2008년10월29일
한국일보
   
         
         
   
Maeil Business 2007년 2월20일
매일경제
   
         
         
   
Sports Chosun 2007년2월15일
스포츠조선
   
         
         
   
Ilgan Sports 2007년2월13일
일간스포츠
   
         
         
   
Ilkka 2005년11월3일
일카, 핀란드
   
         
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       음악잡지    
         
         
   
Music Friends [Music Friends]
June 2011, Vol. 46
   
         
         
   
scherzo [scherzo] - Spain
March 2010, No 250
   
         
         
   
CD [CD] - Spain
March 2010, No. 240
   
         
         
   
Melomano [Melomano] - Spain
March 2010, No 151
   
         
         
   
RITMO [RITMO] - Spain
March 2010, No 828
   
         
         
   
coda [coda]
November 2005
   
         
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