Eunho Chang:
“Linear Patterns”

Eunho Chang Eunho Chang | Photo: Anita Wasik Eunho Chang studied composition at the Keimyung University (BMus) and the Fryderyk Chopin University of Music (MMus), and took his PhD in musical composition under the supervision of Professor Marcin Błażewicz. He has been selected as a participant in various workshops and masterclasses – for instance, at the Impuls Academy, Voix Nouvelles, and Matrix12 by Experimental Studio of SWR in Freiburg – and worked with leading composers such as Unsuk Chin, Chaya Czernowin, Brian Ferneyhough, Beat Furrer, Fabien Lévy, Oscar Bianchi and Clemens Gadenstätter. In 2014 he was given a portrait concert by the Arts Council Korea and also received the Pro Polonia scholarship from 2009 to 2011. In addition he has won several prizes in Korean and international composition competitions, including the First Prize at Dong-A Music Competition in Composition (2009), the First Prize in the Second Ignacy Paderewski Composition Competition in Poland (2009), Second Prize in the Fifth and Sixth Jurgenson Composition Competition in Russia (2009, 2011), Grand Prix at the George Enescu International Competition in Romania (2011), Grand Prix of the Queen Sofia Composition Prize in Spain (2013). He was semi-finalist at the Queen Elizabeth Competition in Belgium (2011) and finalist at the Geneva Competition in Switzerland (2013). He has received commissions from the Royal Castle in Warsaw, the Hwaum Project in Korea, the Royaumont Foundation in France, the Ministry of Culture and Heritage and Musica Polonica Nova in Poland.

“Linear Patterns” for flute, bass clarinet, violin, viola, cello, double bass and piano

Inspiration Eunho Chang Mono Line b-i | © Eunho Chang Linear virtuosity and abstract beauty: flute and bass clarinet are, in other words, a fascinating beauty. The height of beauty, expressed with one fascinating line and harmony with other instruments, is like a scent that makes this fascination even brighter. The most important things in understanding this piece are, first, the acoustic sonority and resonance from the horizontal and vertical perspectives of sound; and, secondly, that instead of a musical flow issuing from a single style such as development, contradiction, modification or other devices, it is based on changing ambiguous states, vague boundaries, complex tones, and momentary feelings and atmospheric effects, similar to those of Impressionism.