SKU: A0.1430867

“Taryeong” generally refers to a slow and sad song, or a song containing a story or story. It is mainly used in traditional Korean songs, and a representative example is Arirang, one of the representative folk songs famous for its slow melody and mournful melody. It also reflects the culture, customs, and emotions of each region and has diverse content and rhythm.

“Hangangsu Taryeong” is one of the Gyeonggi folk songs and contains information about the history, nature, joys and sorrows of the Han River, and boating. It is also an exciting song and is usually played to the rhythm of “Gutgeori,” one of Korea’s traditional rhythms. However, in this music, I changed the mood and mainly used the “Jajinmori” rhythm, and also varied the tempo. Traditionally, the “Jajinmori” rhythm is much faster and more exciting than the “Gutgeori” rhythm. This music can be divided into the first half and the second half, and the three themes from the first half are compressed and connected in the second half. Attached music file is recorded by Violin and Piano, It's just for a reference.

SKU: A0.987858

Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Video: https://mail.google.com/mail/?tab=wm#inbox/14f3cea616cb0a88?projector=1 Duration: ca. 12 minutes Year of composition: 2014 Program Note: I. Overture II. Nigun no. 9 III. Molad’ti IV. Gilu Hagalilim V. Y’mey Hanoar VI. The Gigue Is Up My apologies upfront for all the first person pronouns in this program note! A few years back, Nina Flyer asked me to write for her a piece of music that would contain or make reference to Jewish/Yiddish/Hebrew dance music and/or folk songs. The more I thought about it, the more difficult I realized the challenge would be. As best as I could tell, I had three options. Option one: I could set said dance music/songs for cello and piano, with the result being a series of arrangements: nice, but artlessly unoriginal (meaning dull). Option two: I could weave the tunes into a single narrative and in doing so write another version of Schlomo (a self-proclaimed Hebraic work for cello and orchestra by Ernst Bloch). Option three: I could make up my own ethnic-sounding melodies and either arrange them for cello and piano or weave them into some sort of Hebraic narrative: options one and two all over again. So I came up with option four. I selected four folk tunes (movements II, III, IV, and V) and composed a counter-melody to each. The first half of movements II, III, IV, and V set that counter-melody without any reference to the original folk tune. The second half of those movements then combines the counter-melody with the original tune (and thus the revelation, as the original tune is revealed). The generally two-part shape described above (excepting movement IV, which is A-B-A in structure) suggested Baroque binary dance form, and so I turned the piece into a sort of Baroque dance suite. It begins with a French Overture based on the counter-melodies of movement III and V, and concludes with a gigue based on the counter melodies of movements II and IV. The historical references are supposed to be tongue-in-cheek and I can only hope they will be taken that way. A thousand-and-one thanks to Nina Flyer and Lori Lack for their patience, hard work, and musical brilliance. Suite Revelation is dedicated – with the greatest respect and affection – to Nina Flyer.