As is generally known, many composers, including serialists, have excessively relied on incidental sounds derived from horizontal streams of series or individual voices, so that logic has tended to predominate over emotion. Provided that such dualism is reasonable. Paik, who has found more worth in emotion than in empty logic, however, has explored the possibilities fo horizontal sound production, in other words, the question of how he could make musical meanings by uniting his subtle senses of vertical sound production (formation of chords, combination of instruments, etc.) with horizontal streams. Sansudo is one of these pieces, in which such a conception is revealed Written in 1983 for a commission from KBS Symphony Orchestra, this piece can be said to be a large-scale ensemble, in which the orchestra is dealt with more as a chamber ensemble. This music is a painting of landscape [sansudo] represented by 'diverse density through the strings' and 'variations of touch of lines through the winds'.
(Jun, Sang-Jick (Composer, Lecturer at the Seoul National University) / Translated by Seo, Jeong-Eun (Lecturer at the Seoul National University)
