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UMass Boston News
UMass Boston Orchestra concert includes world premiere work by UMass Boston’s Chaerin Kim
Bill Doncaster | October 29, 2018
“There’s a certain way to give melody to certain instruments that blend together to create a certain mood.”
The November 16 concert of UMass Boston Orchestra concert will feature a world premiere of Rendezvous by Chaerin Kim, an internationally acclaimed harpist and pianist, and member of the UMass Boston music faculty. Originally composed for a film project, Kim says, it centers on a man and woman who fall in love, believing each other to be past lovers.
“I think it’s delightful to work with the UMass Boston Orchestra where I work,” said Kim. “I believe performers show who they are through the performance. I like to talk to people, but I also like to communicate through music.”
Kim has scored 92 versions of Rendezvous, including versions for orchestra, harp, piano, and a versions with lyrics already translated into 80 languages. Though originally composed for a film project, Kim anticipates it being used next year in a Korean television drama. A love story, it centers on a man and a woman who fall in love with “reflections” of past lovers. Kim’s composition begins with a mournful theme in A minor, and modulates to an A major, representing the mirror image of past and present lovers, and of sadness towards a happy ending.
“The orchestra version for me is very special,” Kim says. “This song has lyrics, but there’s a certain way to give melody to certain instruments that blend together to create a certain mood. So when listeners hear it,they shouldn’t feel like ‘this is classical music’, but movie music, with a story line.”
Kim began her musical studies at age 6 and has performed on stages throughout the world, including Boston Symphony Hall, Tanglewood with conductor James Levine, and Carnegie Hall. She teaches piano, harp and keyboard at UMass Boston, as well as music classes at Eastern Nazarene College, and harp at Harvard University. She’s won numerous awards and competitions, including the Tanglewood Music Fellow Soloist Competition, Best Performance in Russian Music at the International Harp Competition in Moscow, the Julia Leney Harp Prize in London, the Korean Walgan Music Competition and the Korean Students’ Newspaper Competition. She received her DMA from Boston University, her MA from Yale University, PG diploma from the Royal Academy of Music in London, and her BA from Ewha University in Korea.
Each of the composers featured on this evening’s program share a commonality in their multi-faceted musicianship. Known as the “last great figure of the tradition of Russian Romanticism,” Sergey Rachmaninoff was a leading piano virtuoso, composer, and conductor at the turn of the century until his death in 1943. In 1918, Leonard Bernstein was born in Lawrence Massachusetts. The world-renowned composer, conductor, author, musician and pianist, was one of the first American composers born and educated in the United States.
Interview with the Board Director of the World Harp Congress, 2011
MG: Which would be your observations regarding the differences in teaching technique in the various countries you have had contact with?
Could you explain the strongest aspects of these techniques and their differences?
CK: I would not really compare in words what is good or bad, or which countries education system is better or not, since it all depends on individual students. I think there are differences, though! My previous teachers were all educated in different countries, such as the US, UK, Germany, France, Russia and Korea, and I experienced their different teaching styles. I found this interesting.
I enjoyed each teacher’s style since it was exciting to see all the differences. It also gave me a broad view of music in general – not just looking at the isolated harp field. In addition, when I hear students from different countries, I notice how their playing is different style-wise. I find there are some common languages and tendencies in those students who are from the same country.
Of course, it most likely depends on their personal education level. There are three important default aspects and qualities I would like to state as necessary to become a wonderful musician.
One: With whom they studied when they were very young;
Two: How talented they are, or: how good their ear is in order to help them produce a good tone, having good tempo and technique, and their own philosophy on how to present their musical interpretation to audiences;
Three: The level of support they get from parents and friends.
Also in my vocabulary, talent could be “how much effort a person can put in his or her instrument.” The focused students are the ones who practice more, I would count that is another kind of talent.
MG: What is your own goal now, teaching undergraduate students at Harvard?
CK: Harvard’s Music Department is more focused in the academic area. However, I teach the undergraduate students through the Office of Arts Program. It is wonderful to see how talented they can be in many areas even though they are not majors in music.
My own goal is to provide the student a wide view for understanding the music itself. At the same time, I train them to focus on the music while they perform. Really, you produce the sound to the extent to what you want and what you think. Audiences can perceive this, and that is why it is so important to give all you can with your own interpretation.
MG: How is your relation to modern composers?
CK: I love to work with composers. I am very interested in composition. I actually wanted to double major in harp and composition while I was doing my doctorate, and still carry my passion for composition! My first inspiration was my previous teacher Skaila Kanga, who is considered one of the most wonderful harpists and harp teacher. Sometimes, she asked me to compose, and I would bring some pieces to my lesson. It was her who introduced me to this new world: how to see the new and creative side of the harp playing, working with composers, and being a composer myself. Her hobby is composition, so it was very natural for me to share my composition interest with her.
Composers are full of wonderful, creative ideas, and I like helping them. Most composers do not have a real chance to work with a harpist, and they are shy about asking for it. I like showing them everything about my favorite instrument, and it brings me joy to see how many other ideas they can come up with after I helped them.
In 2007, I helped Ivana Lisak with her harp concerto, which was written for me. I felt so honored to play her composition and I love the piece. As a harpist or any musician, to get a concerto for oneself is a lifetime thing. It does not happen often, so I was completely thrilled.
MG: How do you feel about the harp being an instrument with so much 19th Century repertoire?
CK: I like 19th Century pieces. In fact, I like pieces from all the different periods of music history. You can cry listening to Bach’s Chaconne, you can also cry listening to Mahler’s 5th Symphony Adagietto. Each different period of time has its own charm. I just feel the need of more contemporary pieces so we harpists can have a wider repertoire.
MG: Do you think that the new 20th Century compositions for harp are meaningful?
CK: I believe each piece has its own language and character. Some people might like certain piece, some others might not. We cannot blame anybody for not liking the same thing.
MG: Do you think that the new compositions for harp written in the 20th and 21th Century will be played as much as the 19th Century ones?
CK: You never know. I can’t predict things, since only God knows what will happen tomorrow!
MG: What is it that you like the most from a composer you are working with?
CK: I like stylish composers!
THE COLORS OF MUSIC
Article and Interview with Chaerin Kim / 2009 Hingham Newspaper
This article, whose author Chaerin Kim agreed to share with this blog, is called “The Colors of Music”. It was published in 2010 at Hingham Newspaper in MA, U.S.A.
I include it as a wonderful way to learn from her experience as a well trained musician in piano, composition and harp and for the curiosity I have regarding how music is learnt, practiced and shared in other faraway parts of the world like what Asia is to Latin America, as well as her experience in Europe and USA. I quote her:
“After listening to many performances by musicians from all over the world, I discovered that the only performers who captured my heart were not necessarily those with the best technique, but those players who had various “colors” in their playing. By “colors” I mean the quality, which evokes emotion and imagination, and allows you to visualize what the performers are saying through their music. You know, to become a truly wonderful musician, you need to have “colors” in your playing.
“Growing up in Korea, I was lucky to study music on many different instruments from many teachers who were trained in Korea, Russia, U.S., U.K., Germany and France. I started when I was 6. I took piano, violin, cello and voice lessons until I was 18. In fact, I double majored in piano and cello. I saw the harp when I was 18, and the instrument honestly took my heart. Once I fell in love with the harp, I talked to my parents, and they kindly let me change instruments.
“To me, the harp is a beautiful and charming instrument that often gives people comfort. And, it has many “colors” in it. The harp represents love, peace, sensitivity, charm, sorrow, joy, and so many other feelings in different colors.
“I love teaching, and find it is such a giving thing. To share with other people what I have enjoyed for more than 27 years makes me very happy and gives me a good reason to be part of this world. I try to teach my beginning and intermediate students very solid basic concepts, so they can draw on these later.
“I believe musicianship is important, but you also need proper technique and good and stable tempo from your heart to be able to present your musicianship and artistry. I try to teach my advanced students other aspects, so they can go beyond basic skills, reach another level, and bring color to their playing. It’s important to convey your thoughts, experiences in life and philosophy through your music.
“I like to encourage people of all ages to continue on with their music education, and I don’t mean just on the harp, but with other music opportunities. Music is not just about giving, but also feeling you are getting a lot more than you give. Even though I am a teacher, I learn a lot from my beginning students, who are passionate and eager to learn, respect and love the music. I let them know it’s all about color and imagination.”