Young-Jun
Lee

Premiered on April 23rd, 2023(World Premiere) Recorded on April 7th, 2024 Recorded in Peabody Conservatory at Johns Hopkins University Young-Jun Lee, copyright © 2024, All rights reserved Composer/Director : Young-Jun Lee Conductor : Juliano Dutra Aniceto Audio : Kai-Yeung Chu Video : Ben Giroux Audio Assistant : Zijie Li, Mengyi(Albert) Yang, Angel Huang Performed by Old Bay New Music Ensemble Cover Illustration : Donghee Lim Dedication : Carlos Sanchez-Gutierrez Duration : 7 minutes Flute : Lily Xie Oboe : Hailey Unger Clarinet : Olivia Harrison Saxophone : Nikolai Klotchkov Trumpet : Ryan Evans Bass trombone : Lucas Pederson Percussion : Hyunwoo Kim / Karl Lee Harp : Jane Yoo Piano : Sean McLaughlin Violin : Heeyun Cho Viola : Bianca Quigley / Nikki Ponticelli Cello : Jihyeuk Choi Bass : Jihoon Baik Composition Note Down the rabbit hole is the first scene from Alice in Wonderland. I was really inspired by not only the literature of Lewis Carroll but also by artworks, fashion, fine-dining, opera or motion picture that are inspired by it. Composition is divided into two part. The first half and the second half are drastically different in terms of timbre, register, regularity, gestures, harmonies and aesthetics. As a composer, I wanted to mix and blend the sound from both realm in my own language. So that I wanted to question the binary world that divides into two: * Reality vs Imagination / Realism vs Surrealism / Regularity vs Irregularity / High vs Low and so forth. I sketched the formal structure first, and started narrowing down one by one. It started from the highest register with very fragile sonic fabrication that eventually morphs into the deep and lowest but very devouring textures. Rabbit hole, in the mean time, also has a double meaning. It also means a complexly bizarre or difficult state or situation conceived of as a hole into which one falls or descends. So I wanted to express that by showing the strong pitch centricity to C that you will lose when you are actually going down the hole when towards the ending which you will sense by those descending gestures. Finally, I would love to express my deepest gratitude to Dr.Felipe Lara who supported me with not only compositional knowledge but also his office so that I could focus on composing. Also, I feel grateful for Maestro Juliano Ancieto and members of Old Bay New Music Ensemble for this amazing opportunities.

Premiered by Ensemble Linea Keiko Murakami, flute Andrea Nagy, clarinet Helena Sousa Estévez, accordion Carolina Santiago Martínez, piano Ernst Spyckerelle, violin Laurent Camatte, viola Johannes Burghoff, cello Jean-Philippe Wurtz, conductor Performed on May 8, 2024 Joe Byrd Hall There is a saying that there is nothing truly new in the world. I believe that the role of composers is to express the tradition of music, which has been passed down for thousands of years, in the most authentic way possible. Therefore, sometimes it may seem that composers are deeply engrossed in exploring new techniques, methods, or timbres while composing, but in reality, many musical devices have been developed from existing elements. Contrary to the freedom I had experienced in previous works, in this piece, I focused on traditional musical elements such as form, harmony, and rhythm. I wanted to purely explore these traditional elements and unfold the composition in the direction that I wanted to hear the most. This work, titled ‘Toccata' composed for Linea, was an attempt to challenge myself further. It is a piece where I expressed my own approach purely through musical elements, unlike previous works where inspiration came from non-musical elements. Although there are no percussion instruments, I approached every instrument in my own way, as if I were listening to percussion instruments. I composed the piece by incorporating changes in harmony and rhythm, creating a sense of rhythm even without traditional percussion instruments.

Collaborative project as a part of Viewpoints April 28, 2024 Joe Byrd Hall, Peabody institute at Johns Hopkins University Choreography / Text - Micah Shapiro Composition - YoungJun Lee Soprano - Sophia Sorrentino Percussion - Ganguk(Karl) Lee Dance - Micah Shapiro, Andrew Van Allen, Gwen Bergendahl Video Editing - Setia Kurniawanto Young-Jun Lee, copyright © 2024, All rights reserved Inspired by the stone sculptures of Isamu Noguchi, 돌 explores beauty within the organic qualities of human movement and sound. Natural body movements and sounds reveal statuesque balance, rhythm and tone in layers, accumulating in the space as the piece continues. This architecture of music and dance blurs the boundaries between humanity and nature, resonating in shared space. *Poem Pebbles Weighting at a Waterfall by Micah Shapiro Pebbles scattered at a waterfall Feel each other without skin hear each other sitting silent Cool air washes over them, filling in betweens and rippling through open space, reaching out to touch like silk sand The line between stone, river, and sky is soft. The earth beneath my feet wanders like a great river, flows and gurgles in the mindless /formless turning piling rushing weighting It hurtles towards a cascade A crashing climax of white splashing water, bright with the life of a runner mid stride, of a baby’s first flying scream that floods the air That’s where I stumbled upon these pebbles Standing serene above the drop Amid crashing earth and billowing air They weight, humble and constant At that sublime precipice the lines between run smooth

Premiered in Peabody Institute at Johns Hopkins University on February 28th, 2024 All rights reserved, Young-Jun Lee INSTRUMENTATION Solo Voice TEXT Sophia Sorrentino DURATION 4-5 minutes DEDICATION To all mothers Sophia Sorrentino PROGRAM NOTE This piece is based on a text that my friend Sophia wrote when she was a child. It is derived from a letter she wrote during her youth. I took a film class last semester and found inspiration in motherhood while watching a documentary by Naomi Kawase. During extensive research, I ventured to guess that one of the happiest and most unforgettable moments for mothers is when toddlers say 'mother' or 'mom' for the first time. I drew inspiration from the linguistic development of a toddler, starting from incoherent sounds to clearer, more distinct expressions. The piece concludes with the clear word 'mom,' while the middle section is based on the gestures of toddler sounds that I researched for a while. Despite toddlers using many vowels, I removed all vowels from Sophia’s letter, leaving only the consonants. Similar to the way toddlers communicate with mothers using a language that adults can't fully understand, a female-identifying singer will convey Sophia's message to the audience without a clear vocabulary composition. Just as every baby is unique, the tempo and phrasing of this piece can vary widely and may include lots of rubato. Although it is written for a female-identifying voice, this piece can be performed by anyone who identifies themselves as mothers.

Conversation IV for String Trio Premiere as a part of ICIT 2023 program Composed by Young-Jun Lee All right reserved ⓒ 2023 - Young-Jun Lee ASCAP International Composition Institute of Thailand (ICIT) 2023 21st DEC 2023 at Bangkok Art and Culture Centre (BACC) Conversation IV - mediated debate (2023) for violin, viola, and cello “Conversation IV - mediated debate” is a contemporary string trio that is deviated from the conventional melodic narrative, delving instead into a musical 'debate' facilitated by a exploration of timbre and texture. The composition portrays an auditory argument where the violin and viola often engage in a passionate exchange, while the cello acts as a mediator, guiding the discourse with resonant interjections. This piece opens with a declarative statement from the violin, immediately countered by the viola, setting the stage for a series of intense musical discussions. The cello enters with a broad, grounding tone, tempering the fervor of the upper strings and offering a reflective pause within the spirited exchange. The dynamic interplay of these techniques creates a textural landscape that is as varied and complex as the facets of an intense discussion. Rather than resolving in harmony, “Conversation IV” mirrors the realistic outcomes of debate—sometimes finding common ground in a consonant blending of timbres, other times concluding with the open-endedness of unresolved dissonance. The audience is invited to listen deeply to the 'arguments' presented and contemplate the subtleties of mediation and discourse as they unfold in this captivating auditory debate. Performed by Taceti Ensemble Ariana Kim - Violin (Guest Artists) Tapanatt Kiatpaibulkit - Viola Kantika Comenaphatt - Cello

Politicians for Baritone Saxophone and Violin Premiere in Peabody Conservatory : October 29th, 2023 All right reserved ⓒ - Young-Jun Lee ASCAP Violin : Qiao Dan Baritone Saxophone : Deer Ma Audio : Kai yeung Chu Video : Ben Giroux DEDICATION Dan Qiao, Deer Ma PROGRAM NOTE .. - / .. ... / . ... ... . -. - .. .- .-.. / - .... .- - / .- / -- .- -. / .-- .... --- .-..-. ... / .--. .-. . ... .. -.. . -. - / --- ..-. /- .... .. ... / -.-. --- ..- -. - .-. -.-- / -.-. . .-. - .- .. -. .-.. -.-- / ... - .- -. -.. / ..-. --- .-. / . ...- . .-. -.-- / .--. .-. --- --. .-. .- -- / - .... .- - / .-- .. .-.. .-.. / -- . .- -. / ..-. --- .-. / --. .-. --- .-- - .... .-.-.- / .- -. -.. / .. / ... - .- -. -../ ..-. --- .-. / .--. .-. --- --. .-. .- -- ... / - .... .- - / .-- .. .-.. .-.. / -- . .- -. / --. .-. --- .-- - .... / .- -. -.. / .--. .-. --- --. .-. . ... ... .-.-.- / -... ..- - / .. - / .. ... / .- .-.. ... --- / . ... ... . -. - .. .- .-.. / - .... .- - / .... . / -. --- - / .- .-.. .-.. --- .-- / .- / -.. --- .-.. .-.. .- .-. / ... .--. . -. - / - .... .- - / -.-. --- ..- .-.. -.. / -... . / -... . - - . .-. / ... .--. . -. - / -... -.-- / - .... . / .--. . --- .--. .-.. . / - .... . -- ... . .-.. ...- . ... .-.-.- .. / .-- .- -. - / .... .. ... - --- .-. .. .- -. ... / - --- / ... .- -.-- / - .... . ... . / .-- . .-. . / - .... . / -.-- . .- .-. ... / .--.... . -. / - .... . / - .. -.. . / -.-. .- -- . / .. -. .-.-.- / - .... . ... . / .-- . .-. . / - .... . / -.-- . .- .-. ... / .-- .... . -. /- .... . / ..- -. .. - . -.. / ... - .- - . ... / ... - .- .-. - . -.. / - --- / -- --- ...- . / .- --. .- .. -. .-.-.- / - .... .- - .-..-.... / - .... . / --.- ..- . ... - .. --- -. / -... . ..-. --- .-. . / - .... . / .- -- . .-. .. -.-. .- -. / .--. . --- .--. .-.. . --..-- / .--. -.. / --- -. .-.. -.-- / -.-- --- ..- / -.-. .- -. / -.. . -.-. .. -.. . / .-- .... .- - / -.-- --- ..- / .-- .- -. - --..-- / .-- .... .- -/ -.-- --- ..- / .-- .- -. - / - .... .. ... / -.-. --- ..- -. - .-. -.-- / - --- / -... . --..-- / .-- .... .- - / -.-- --- ..- / .-- .- -. -/ - --- / -.. --- / .-- .. - .... / - .... . / ..-. ..- - ..- .-. . .-.-.- / .. / - .... .. -. -.- / .-- . .-..-. .-. . / .-. . .- -.. -.-- / ---- / -- --- ...- . .-.-.- / .- -. -.. / .. - / .. ... / - --- / - .... .- - / --. .-. . .- - / - .- ... -.- --..-- / .. ..-. / .-- . .-..-..-. . / ... ..- -.-. -.-. . ... ... ..-. ..- .-.. --..-- / - .... .- - / .-- . / .-- .. .-.. .-.. / .- -.. -.. .-. . ... ... / --- ..- .-. .... .-.. ...- . ... .-.-.- COMPOSITION NOTE This work is based on the final speeches of the first presidential addresses televised by Kennedy and Nixon. Morse code, being the only means of conveying a direct message in instrumental music without lyrics, served as the basis for the rhythms and themes that each performer plays. While Morse code directly encapsulates the beautiful speeches of the two presidential candidates and their efforts to communicate with the public, the rapid tempo at which they play in this piece is designed to prevent the audience from understanding this direct message. Furthermore, the two performers are designed not to listen to each other beyond a certain point, as each plays at the fastest tempo they can manage. This criticizes the absence of communication between the two candidates in their speeches, filled with the usual political rhetoric, and the lack of communication between the candidates and the public.

Composer : Young-Jun Lee Premiered on October 14th, 2023 (Sat) Commissioned by Impuls New Music Festival Dedicated : Brightwork new music ensemble PROGRAM NOTE How will the world look like if we see through snail's eyes? Inquiries : http://youngjunleonlee.com

Premiered in St.Petersburg as part of reMusik.org, 2023 Performed by GAMEnsemble INSTRUMENTATION Alto Saxophone, Cello, Piano DURATION 6' 30'' PROGRAM NOTE “Drugs Take You To The Hell Disguised As Heaven” – Donald Lyn Frost DEDICATION Nahyoung Kim COMPOSITION NOTE Nō( ) is a Japanese words that means brain. I was really inspired by how brain signal changes after it is exposed heroine that looks similar to Dopamine(which is the chemical hormones that is released in the brain to make a human feel good) in our brain. In this piece, the sonic structure is focused on neuron's activity that is triggered by a stimulus from outside of sources such as chemicals or drugs. Because of artificial excess of methamphetamine which has a similar chemical structure as Dopamine, human experience the heaven, joy or happiness that they have never experienced in their lives. As a trade, after drug users are awake from meth, they often experience depression, fatigue and loss because brain cells cant produce Dopamine anymore by itself due to unbalance. I used the Japanese word "No" as a title since it also implies Nancy Reagan's Campaign slogan "Just say no" in 1970s regarding drug abuse and addicts. The piece started from static, normal brain activities of neuron to complete ecstasy that increases its activity. While brain is still functioning, I wanted to increase the amount of outside stimuli that is gradually increased by drug users to alert and alarm how dangerous and severe this addiction can be.

l'orchestre for Violin, Viola, Piano, Electronics and Video Composed / Directed by Young-Jun Lee Dedicated to Fontainebleau schools of music and fine arts *Videography & Editing : François Bibonne Performers *Violin : Albert Steinberger *Viola : Rachel Haber *Piano : Dane Ko [Program Notes] When I first got to Fontainebleau, I was already so overwhelmed by busy schedules and projects as well as the tight schedules that I had (or even had to get) from cities. To release the pressure that I had, I was walking in the chateau to get some fresh air and to organize my thoughts. While walking in the chateau and taking a lot of time in the garden, I realized that I haven't listened to the sound of nature for a while. Immediately, I was really inspired by the nature of Fontainebleau, and I had to close my eyes and listened to the sound of nature for hours because sounds of the natures were actually the orchestra. As soon as I got back to home from chateau, I decided to discard what I was writing for Fontainebleau school and write a new piece that conveys the orchestral sounds that I was hearing from the nature. So, I started to collect the footage of sounds and videos of Fontainebleau with my friend François Bibonne. I really wanted to leave the sound of nature in my piece as untouched as possible so that audience can have time and enjoy the sound of nature. While I was trying to bring the essence of the nature in my piece, I realized that I actually had to bring a lot of technology, electronics as well as artificial sounds to even try to mimic the sound of nature. Despite the fact that mankind is the part of nature, it was paradoxically interesting that human needs a lot of technology to even preserve, bring or live in the nature. I wanted to include this paradox by using the monitor or video of nature conduct and queue the instrumentalists, who are humans. In this piece, all the rhythmic figures or pitch materials are very fluid and flexible because I wanted to include the fluidity that the nature has. While I was observing the nature, I thought that all the aspects that form plants, animals, landscape as well as human are actually not concrete. For example, human says that moon is the sphere shape or sky is blue although they are actually neither sphere nor blue due to crate and the time differences. Human were actually the only animal who wanted to simplify and define the various spectrum and the pattern of nature. To avoid the sturdiness or solidification of the pieces, most of the notations are based on proportion. 퐁텐블로에 처음 도착했을 때, 이미 바쁜 일정과 프로젝트, 그리고 도시에서 받았던(혹은 받아야 했던) 빡빡한 일정에 압도 되곤 했습니다. 이런 압박에서 탈피하고자 저는 성당 안에서 산책을 하며 신선한 공기를 마시고 생각을 정리하려고 나섰습니다. 성당 안에서 걷는 동안과 정원에서 많은 시간을 보내면서, 얼마나 오랜만에 자연의 소리를 듣지 않았나 깨달았습니다. 즉시 퐁텐블로의 자연에 매료되어 영감을 받았으며, 자연의 소리가 사실 오케스트라인 것처럼 느껴져 눈을 감고 몇 시간 동안 자연의 소리를 듣게 되었습니다. 성당에서 집으로 돌아온 순간, 그동안 퐁텐블루 학교를 위해 작업하고 있던 것을 모두 버리고 실제로 듣던 자연의 오케스트라 소리를 전달하는 새로운 작품을 쓰기로 결정했습니다. 그래서 저는 친구 François Bibonne와 함께 퐁텐블로의 소리와 영상을 수집하기 시작했습니다. 자연의 소리를 가능한 한 그대로 남겨 관객들이 시간을 가지고 그 소리를 음악과 함께 즐길 수 있도록 구상하기 시작했습니다. 작품에 자연의 소리를 최대한 그대로 담기 위해 기술과 전자기기, 인공적인 소리를 사용하지 않고는 불가능하다는 사실을 깨달았습니다. 인간도 자연의 일부이지만, 역설적으로 자연을 보존하거나 가져오거나 자연에서 살기 위해서 많은 기술이 필요하다는 것이 흥미로웠습니다. 작곡가로서 이 작업을 통해 이 역설을 작품 안에 포함 시키고자 하였으며, 자연의 동작을 보여주는 모니터나 비디오를 사용하여 인간인 악기 연주자들을 지시하는 역할을 하게 했습니다. 이 작품에서는 모든 리듬적인 형태나 음높이 소재가 매우 유동적이고 융통성 있습니다. 이는 작곡가로서 자연의 유동성을 그리고 형이상학적인 측면에서의 고찰을 담고 싶었기 때문입니다. 자연을 관찰 하면서 나무, 동물, 풍경뿐만 아니라 인간을 이루는 모든 측면이 실제로는 그 형태나 모양이 단어로서 정의될수 없다고 생각했습니다. 예를 들어, 사람들은 달이 구체적으로는 구 형태라고, 하늘은 파란색이라고 말하지만, 사실은 달표면에 존재하는 크레이터 때문에 실제로는 달은 완벽한 모양에서의 구형태라고 정의할 수 없으며, 하늘역시 마찬가지로 시간차나 색의 스펙트럼때문에 파란색으로 정의할수 없습니다. 인간은 실제로 자연의 다양한 스펙트럼과 패턴을 단순화하고 그를 단어로서 정의하려는 유일한 동물이었습니다. 저는 작곡가로서 이러한 자연의 성질에 착안 작품이 규칙적인 형태나 예측가능한 모습을 음악으로 피하기 위해 대부분의 음표는 명확한 리듬을 갖기 보다는 연주자가 곡의 악보를 보고 자유롭게 해석할 수 있게 그래픽 및 비율에 기반하여 표기하였습니다.