Quentin Kim - Variations in f minor

[andhow04]

this is a very unusual piece in the sense that the 'Variations' are not really based on the theme at all, but occasionally use fragmented pieces of it in a kind of quotation. the theme itself, a korean traditional air, is also combined with a phrase from a Catholic hymn, making the possibility of a kind of Haydn-esque double variations (the hymn generates some of the variations).
Variation 5 changes entirely, featuring the famous 'Arirang' air of Korea. here's the composer comments on the piece:

The Composer's Notes:
 The first version of the Variations in F minor was the Variations on 『Hanobaeknyôn』 for violoncello and pianoforte. "Hanobæknyôn" means "about five hundred years," and the tune is an air lamenting the fate of an old kingdom that has not lasted five hundred years. "Hanobæknyôn" is considered a form of "Chôngsôn Arari/Arirang" ("Air from Chôngson region"), sung by the Fourteenth-century Korean noblemen who staid loyal to the old kingdom of Koryô (A.D. 918~1392)ㅡthe name "Korea/Corea" was first introduced to the West thenㅡat the formation of the new kingdom of Chosôn (A.D. 1392~1910), survived the arson on the village the disobliging noblemen from the old kingdom hid in protest, and later moved to the Chôngsôn region. The Chôngsôn Arari is said to be the origin of all Arirang tunes, and for that reason, the most well-known Arirang tune is also quoted as a part of the variations (the 5th variation "cantabile").

 Also, coincidentally, a part of the holy melody that struck a deep chord in my heart after having heard it at a Catholic Church during my childhiod appears to be in exquisite harmony with the hanobækmyôn, so I put them together as part of the song.

 There has traditionally been a belief that all arts fundamentally begin with the longing for beauty and are completed through the pursuit, creation and proclamation of beauty. However, the beauty lies not only in fantasy and nature, but also in human life, the agony of a painful life or concealed history, and the sorrow buried therewithin, so I wrote the song while feeling the doleful beauty of this “five hundred years” with a heartbreaking story behind it. In the violoncello/pianoforte version, the finale sinks into sadness again at the end, but the solo piano version of the Hanobæknyôn varations, the Variations in F minor, has a more hopeful and heroic ending. In comparison with my 『Variations on an Ancient Korean Melody』 , the Theme and Variations in F minor focuses more on developing inconspicuous parts and symbolic motives, rather than external unity, thus giving a richer sense of free fantasy to the work.

i just want to share this work to see if anyone has any reaction to it ! thanks