In Conversation with Yeonjoon Yoon

Ahead of Um [Sprouting], we caught up with pianist, composer, improviser and winner of the Gold Medal 2018, Yeonjoon Yoon to hear more about the inspiration behind the project and what audiences can expect to hear on 17 May. 

Um [Sprouting] is a project of original works in which Yeonjoon fuses his deep understanding of Western classical music with his native Korean roots. Yeonjoon's work draws inspiration from the sounds and sights of South Korea. 

Tell us about yourself and your career so far as a pianist, composer, and improviser?

I received thorough classical training from the age of six in South Korea, the USA, UK and Germany. In 2021, I had to pause my career due to the COVID-19 pandemic and mandatory military service in Korea. During this time, I had access to musical instruments at the church on the military base. The only piano available was a worn-out upright, along with drums and guitars. Experimenting with these instruments led me to take composition and improvisation seriously. Since my release from the military in September 2023, I've been collaborating with musicians of diverse genres such as Korean traditional, jazz and electronic. My lifelong goal is to be an artist without genre restrictions. To me, genre is like race; it's there for convenience's sake.

Can you tell us more about the concept of Um [Sprouting] and what audiences can expect from the concert?

‘Um: Sprouting’ is an exhibition of works that have shaped me: Chopin’s first étude, which I learned at age 12 for my first solo recital; Isang Yun’s five pieces for piano, influenced by Korean music and the Second Viennese school, which I studied during the pandemic; my interest in jazz led me to Brad Mehldau’s works and his renditions of the classical repertoire, showing new paths; during military service, I taught myself to play drums and guitar, which somehow got me obsessed with Philip Glass' music; all this led to my fascination with Ryuichi Sakamoto, who explores art without boundaries. 

On Ryuichi Sakamoto's Instagram profile, it is stated: "deconstructing the past, and the present, in order to lead us into the future with a greater scope." This project marks my beginning steps in finding my own little corner and letting it sprout, to confront the future with a broader scope.

Can you explain the process behind creating a new composition?

The process often involves a blend of instinct and planning, with the former taking more precedence. Personally I'm drawn to repetitions, whether they're motifs or structures; they allow me to reveal the unfamiliar within the familiar, signifying change in the flow of space and time. While I'm always exploring new avenues of creativity, a line from the song "Giorgio by Moroder" by Daft Punk resonates deeply with me: “Once you free your mind about a concept of music and harmony being correct, you can do whatever you want.”

What are your compositions in Um [Sprouting] inspired by?

They are inspired by the rhythmic flow of pop and Korean traditional music, everyday sounds, and scenery of South Korea, transformed by my knowledge and experience of Western classical music. Specifics about each work can be found in the programme notes. 

You’ll be joined by Korean musicians playing traditional instruments – what is it like to work with these musicians and can you tell us more details about the instruments?

Working with them makes me more instinctive and sometimes spiritual. Groove was the most important part of the process, a term seldom used when working with classical musicians. There is nothing wrong with that; I think dynamic precision and structural clarity are at the core of classical music-making, which I find crucial and beautiful. Why not try to marry them together? Classical precision with groove and soul?

The Korean instruments used for this project are Haegeum (a two-stringed instrument) played by Yeji Kim, and Janggu (waist drum) Jing (gong) and Punggyeong (wind chime) played by Hannah Kim. These instruments have been used for both ceremonial and processional occasions in Korean history. Rather than trying to have a complete historical understanding of the instruments, I let my instincts guide me in arranging more suitable sounds for the works created, with the help of Yeji, Hannah and the producer Daeun Kim. 

What do you hope the audience will take away from experiencing the concert on 17 May?

I hope they sit back, have a good time and maybe even bop their heads around a bit. I also hope they close their eyes and immerse themselves in the music; contemplation, consolation, detestation, irritation, elation, perplexity, happiness, joy, tenderness, comfort, discomfort, vulnerability, sadness… Any feeling is welcome as long as it isn’t indifference!

Tickets for Um [Sprouting] at Milton Court Concert Hall on 17 May are on sale now.