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High Acclaim for Unique Genre of Crossover Music

Kang Eun Il and her Haegeum Plus music group, which features a unique brand of crossover genres derived from Korea’s traditional music, toured the northeast region of the U.S. They performed a variety of Western and Eastern works, including “Chosu-daeyeop” as well as Western-style adaptations like “Air on the G-.”

“Moving,” “Electrifying,” “Amazing,” “Absolutely Beautiful”…
“Moving,” “electrifying,” “amazing,” and “absolutely beautiful,” were among the words of praise that the audiences and media used to describe the performances of Kang Eun Il. During a two-week tour, Kang Eun Il and her Haegeum Plus staged performances in New York, North Carolina, Washington, D.C., and Virginia, which captivated the audiences with a unique form of music. Kang Eun Il and her music group are dedicated to the opening up of new horizons for the traditional music of Korea. They have continuously grafted elements of classical, jazz, and New Age music onto the roots of traditional Korean music. The result has led to the creation of an all-new medium that has served to expand and popularize Korea’s traditional music.

Korean and Western Music
For the U.S. tour, the group selected and performed ten musical works. Traditional works included “Sky Bull,” a creative piece that features the melody of “Jindo Arirang,” played on the haegeum, accompanied by the resonant tones of taepyeongso; “Chosudaeyeop” that is infused with elements of gagok, a classical form of lyrical song, and modern jazz; and “Wong-i-jarang” or “Jeju Lullaby,” based on the melody of a traditional lullaby from Jejudo, an island located in the southwestern seas of the Korean Peninsula. In addition, contemporary works included “Air on the G-,” a reinterpretation of the well-known “Air,” from one of Bach’s orchestral suites, arranged for a quartet of haegeum, piano, contrabass, and drum; and “Libertango & Cranes,” an adaptation that combines the tango rhythms of “Libertango” along with the bossanova sounds of “Cranes.”
The performance was highlighted by the presentation of an “Arirang” work, especially produced for the U.S. tour. This creation, which combined “Arirang” of Korea with “Amazing Grace,” featured a young soloist who sang in Korean as well as English, thereby providing an emotion-filled climax that presented an opportunity for the audience and performers to contemplate on the longstanding friendship of Korea and the U.S.

Targeted Performance Themes
Of note, each performance was accentuated by various themes that reflected the particular location, venue, or audience in attendance. For example, the initial performance, staged in the Queens borough of New York City, was perfectly complemented by the lively and energetic atmosphere of the city. The audience was noticeably animated, responding spontaneously and enthusiastically to the presentation of every musical piece and individual performer. It was evident that for this performance was “energetic” as well as “entertaining,” an ideal way to start off the tour.
Duke University was the venue for the second performance. At this institution with an excellent academic tradition and audience with high musical expectations, Kang Eul Il and her group presented a masterful performance that was indeed up to the challenge.
Kang Eun Il’s dramatic playing enhanced the elegant artistry of the entire performance, which could be described as “graceful” and “captivating.”
The highly esteemed center for performing arts, the Kennedy Center in Washington, D.C., served as the venue for the third performance. In line with the formal and authoritative environment of the capitol district of the U.S., the group’s performance was well-suited for this tradition-bound stage. Indeed, each lyrical note d a majestic atmosphere that invigorated the sentiments of the audience. Clearly, this performance was “regal” as well as “powerful.”
The fourth performance was held in Culpepper, a small county in Virginia, which is known for naming a road for Korea. During this performance, Kang Eun Il made a conscious effort to interact with the audience, which included an introduction of each traditional instrument and the Korean musical pieces. The result was a performance that had the audience laughing aloud as they learned to appreciate Korea’s traditional music. “Personal interaction” was the obvious theme of this presentation.
For the final performance, the group returned to New York City, completing a circuit. Like the prior performances, this presentation was also extremely successful, ending with three encores. The performers and the audience had been joined together through the universal language of music.

Vast Potential for Korean Music
As for the reasons why the U.S. tour of Kang Eun Il’s Haegeum Plus was so successful, a music critic could no doubt write a lengthy essay. For myself, I believe the key factor is rooted in the musical philosophy of Kang Eun Il: “Korea’s classical music does not remain only in the past, but is also alive in the present and awakens future musical inspiration.” Her music is truly alive as well as a source of stimulation and inspiration. It would thus be no exaggeration to say that this tour was “outrageously successful!”

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