Koreana Suite Richard E Brown

Koreana Suite
(on Korean Folk Themes) for
Violin, Cello, and Piano Richard E Brown

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About the Composition… About the Composer…

About the Composition…
KOREANA SUITE is based on themes derived from Korean folk songs originating from the area around Seoul, called Kyonggido. Of the various styles of Korean folk songs, Kyonggido melodies, which are built on pentatonic scales, are the most accessible to Western ears. These three movements are not intended as folk song settings, but use use melodies, rhythms, and motifs drawn from the songs as the basis for themes to be developed compositionally within the moreorless strict musical forms of chaconne, scherzo, and fugue. The practice of drawing thematic material for composition from folk melodies is practically as old as the art of composition itself.
CHACONNE: (Andante con moto) The chaconne is a variation form, dating from the Baroque Period, in which a short theme, or “ground,” is repeated over and over while other voices provide variations. In this movement, unlike the typical Baroque chaconne, the theme is not tied to a repeating harmonic pattern. The harmony varies and only the theme itself, or its inversion, repeats. The measure ground, from the folk song Toraji Taryong (Bellflower Song), is played first by the cello alone, then followed by twelve variations and a coda, giving fourteen repetitions in all of the ground.
SCHERZO: (Allegro agitato) This movement follows a loose scherzo and trio form, with the trio theme incorporated into the reprise of the scherzo. The scherzo theme is from Millyang Arirang, a sad—but not slowsong set in the town of Millyang. The trio theme is adapted from Hoe Sim Gok, a shaman funeral song, and the rhythmic figure around which the movement is built derives from the percussion accompaniment to this song.
FUGUE: (Vivace con spirito) The fugue subject for the last movement is adapted from Nil Li Riya, a lighthearted dancing tune whose title has no direct translation. Although fairly strict in form, this, like many other contemporary fugues, differs from the standard Baroque fugue in being less tonally grounded, with the answer coming in at the third rather than the fifth, and in the avoidance of strong cadences. Themes from the chaconne and scherzo are also worked into the fugal texture, unifying the three movement composition.
About the Composer…
Richard E Brown, a native of New York State, has been active as a composerarranger and music educator for many years. His training includes MM and DM degrees in composition from Florida State University, as well as a BA in music education from Central College. His principal composition studies were with Carlisle Floyd, John Boda, and Charles Carter. He is a member of ASCAP, and is represented in the catalogs of several publishers.
His output includes numerous works for concert band and orchestra, instrumental solos and ensembles, church music, piano solos, and scores for ballet, opera, and musical theater.
Having taught in public schools in Iowa, Texas, New Mexico, Oregon, and Washington, Dr. Brown now lives in the Puget Sound area, where he is composerinresidence with the Shoreline Concert Band. Retired from teaching, he can often be found in the mountains following his other passions, hiking and climbing.

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Koreana Suite Chaconne

        Violin Cello Piano       Andante con moto                                   Vln. Vc. Pno. 
                                            Richard E Brown (ASCAP) ©1 Dacker Music All rights Reserved for Taehee Koreana Suite
(on Korean Folk Themes)
forViolin, Cello, and Piano Chaconne

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    Vln. Vc. Pno.                     
                              Vln. Vc. Pno.                   
              
                           Vln. Vc. Pno.      
            
       
           
               
               
    
      Koreana Suite

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    Vln. Vc. Pno.      
    
                                     
               
              
              Vln. Vc. Pno.                        
             pizz.   
         
            
         
               Vln. Vc. Pno.            
                                               
            Koreana Suite

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    Vln. Vc. Pno.            
                            
         1            1                 arco     Vln. Vc. Pno.         
         
            
                      
                                Vln. Vc. Pno.                  
                  
                                          Koreana Suite

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    Vln. Vc. Pno.  
    
                 
        sub. sub.      
          
          
           Vln. Vc. Pno.      
      
      
         
                    
              Vln. Vc. Pno.     
               
                
                 
               Koreana Suite

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                                  �[...]

    Vln. Vc. Pno.  
     
                 
              
                             sul pont.       Vln. Vc. Pno.                                                                                          Vln. Vc. Pno.
               
                         ord.      
      
                                    loco Koreana Suite

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                                   �[...]

    Vln. Vc. Pno.      
                                                           
     
                 Vln. Vc. Pno.             
                
                   
      1  
            1  
           Vln. Vc. Pno.
        
        
      
       
        
      
         
               
         
          
           Koreana Suite

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