Soarirang

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Description +
- Soarirang is originally composed for percussion ensemble, piri (a Korean double reed instrument) and taepyeongso by Kyungtaek Kim who is a Korean composer and percussionist. When South Korea successfully submitted the song for inclusion on the UNESCO list in 2012, Se-Mi Hwang arranged and added the piece with Arirang melody for solo Marimba.
  
  Arirang is a Korean folk song and the lyrics which the player sings at the end of the piece mean:
  
  Arirang, Arirang, Arariyo
  Crossing over Arirang Pass.
  The one who abandoned me
  Shall not walk even 4 kilometers(10 li) before their feet hurt.
Instrumentation +
- Marimba
About the composer +
- Se-Mi Hwang was born in South Korea, lives in Stuttgart, Germany and currently lecturer at the University of Music in Mannheim, Germany.
  
  As a percussionist, Ms. Hwang regularly performs all over the world, for example in South Korea, several European countries, Turkey, New Zealand, the USA, Fiji, Zambia, and Botswana. She performs with many orchestras, as ensemble and as soloist. During the Stuttgart Music Festival, she performed at several concerts with the Stuttgart Philharmonic Orchestra conducted by Tan Dun, and as a soloist with the Stuttgart State Opera Orchestra.
  
  She won important competitions such as World Marimba Competition and International Percussion Competition in Luxembourg among others.
  
  She commenced the percussion program at the Stuttgart University of Music and Performing Arts with Prof. Marta Klimasara, receiving a Master of Arts and Konzert-Examen Degree. She holds a Master in Orchestral Conducting from the same university.
  
  Ms. Hwang is a renowned educator with the ability to develop, enhance and coach students and ensembles to the top of their talents. For several years she has worked with young musicians, preparing them for concerts and competitions at festivals and in workshops, both as an educator and as a juror.
  
  Se-Mi Hwang also plays the piano, flute, and violin. She proudly endorses Yamaha, Vic Firth and Zildjian.
Reviews +
- Percussive Notes, February 2023
  
  This solo arrangement of an ensemble piece blends the voice and marimba playing of a single player in a lovely, natural way. The flowing, lyrical marimba part seamlessly complements the vocal notes, especially if sung in a soprano range (as written). The melodic content that is mainly reinforced in the higher, right-hand upper range of the marimba combines with the soprano voice to create a timelessly beautiful effect.
  
  The notation is reminiscent of piano music, with the bulk of the melody notated in the right hand, in treble clef, and the accompaniment in the left hand, in bass clef. This creates an especially demanding left-hand part, but adds to the virtuosic nature of the piece. There are minimal performance instructions, but the fluid, yet precisely notated nature of the work lends itself well to individual expression, while still keeping with the composer’s intent. The variety of techniques called for, including one-handed rolls, chorale- style fast arpeggiation, a wide dynamic range, playing mallet handles on the bars, changing keys, and vocalizing while playing truly make this piece a tour-de-force that is a perfect opener or closer on any professional performance or advanced student presentation.
  
  For those who wish to play the marimba part only, or for those who cannot render the vocal part in its notated octave, acquiring a vocalist to sing the text at the end of the piece would still make for an excellent performance. The tender, poignant lyrics, sung in Korean, translate to:
  
  Arirang, Arirang, Arariyo
  Crossing over Arirang Pass.
  The one who abandoned me
  Shall not walk even 4 kilometers before their feet hurt.
  
  —Cassie Bunting
Credits +
- Front Cover: Nicola Lee
  Photo: Oliver Röckle
  Engraving: CPH Engraving
  Printed in Copenhagen, Denmark
  Copyright © Edition SVITZER
  www.editionsvitzer.com

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