
TMIF begins on high note with Lim Yunchan's riveting performance
The Tongyeong International Music Festival opened with a performance by its Festival Orchestra, comprising both domestic and international musicians, under the baton of French conductor Fabien Gabel. The concert began with Overture (1973/74) by Isang Yun -- the composer in whose honor the festival was founded in 2002.
Among the audience were former president Moon Jae-in and former first lady Kim Jung-sook, who reside in Yangsan, about 80 kilometers from Tongyeong. They returned to the festival after a two-year absence, having last attended in 2023.
As the concert began, around 130 ticketless attendees gathered in the hall's lobby, where the performance was being broadcast.
Following Yun's overture, pianist Lim Yunchan took the stage to perform Rachmaninoff's Piano Concerto No. 2 in C minor, Op. 18.
Lim's involvement was more limited than that of the previous artist-in-residence, yet it significantly raised the profile of the festival, which takes place in a remote coastal city. This year's festival features only two performances by Lim — the opening concert and his recital on Sunday — both of which quickly sold out.
In fact, the Tongyeong International Music Foundation stopped accepting new members for its sponsorship program as early as October, due to the overwhelming interest following the announcement that Lim would be the next artist-in-residence.
Annual membership fees range from 300,000 ($204) to 1 million won. Members receive benefits such as discounted tickets, invitations to the TIMF's opening reception and sponsor event, priority booking for the festival and foundation-produced performances and exclusive opportunities to meet performers.
'The number of current sponsors has exceeded the foundation's capacity,' the foundation had announced in October.
For the encore, Lim performed F. Liszt's Sonetto 104 del Petrarca from Annees de pelerinage: Deuxieme Annee (Italie), S. 161 No. 5.
In the second half, Gabel returned to lead Tchaikovsky's Symphony No. 4 in F minor, Op. 36, which drew a standing ovation.
Gabel is a French conductor known for his expressive style and broad repertoire. Born in Paris in 1975 to a musical family, he started as a trumpeter and trained at top conservatories in France and Germany. He gained attention after winning the Donatella Flick Conducting Competition in 2004 and became assistant conductor of the London Symphony Orchestra. He later led the Orchestre Symphonique de Quebec (2012–2021) and Orchestre Francais des Jeunes.
On Saturday, Gabel returned to the Tongyeong Concert Hall to lead the festival orchestra's second performance, featuring Ravel's Une Barque sur l'Océan from Miroirs, Henri Dutilleux's Tout un monde lointain… for cello and orchestra (1967–70), with cellist Pablo Ferrández, and Strauss's Ein Heldenleben, Op. 40.
The late composer Isang Yun, who passed away 30 years ago, was honored in a subsequent concert titled "Hommage à Isang Yun." Weiwuying Comtemporary Muisic Ensemble, conducted by Yang Su-han, featured two of Yun's works - Piece concertante for ensemble and Teile dich Nacht for soprano and ensemble (1980) - alongside compositions by his former students: Toshio Hosokawa, Pan Hwang-long, and Paik Byung-dong.
gypark@heraldcorp.com
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Korea Herald
3 days ago
- Korea Herald
A Voyage Through Time: 1920's French Linguist Returns to Hainan
, Aug. 13, 2025 /PRNewswire/ -- A report from Hainan International Media Center: In 1925, French linguist François-Marie Savina embarked on an ethnographic journey through Hainan, documenting the island's local Li culture in his seminal work Monographie de Hainan. A century later, AI revives his digital avatar for a cross-cultural dialogue with a modern Li Brocade designer, and an unprecedented cultural experiment is born. A Voyage Through Time debuts online Aug. 8, 2025. The short film A Voyage Through Time: Savina's Hainan Island Monograph redefines digital humanities by blending archival rigor with artistic narration. "The video stages a fictional encounter between Savina and contemporary Li Brocade designer who weaves Li brocade motifs into futuristic fashion," said the film's scriptwriter. Using historic photographs of Hainan, the Chinese production team revive authentic 1920s Hainan landscapes. With a MoE (Mixture-of-Experts) model serving as a key technical and artistic solution, the film captures the physical appearance of an oil painting, while maintaining the accuracy and consistency of the historic scenes and human figures, including faces, facial expressions, hands, and clothes. "As Hainan is bidding for the Hainan Tropical Rainforest and Traditional Settlements of the Li Ethnic Group to be included on UNESCO's World Heritage List, we wanted to 'paint' every stroke to honor both Savina's legacy and Li cultural creativity." explains the film's director. In 2022, the Hainan Tropical Rainforest and Traditional Settlements of the Li Ethnic Group was placed on UNESCO's tentative list for World Heritage sites—the first formal step toward nomination. A legal framework for protecting Li traditional settlements took effect in the following year, giving the centuries-old villages legal protection.


Korea Herald
6 days ago
- Korea Herald
Hearts2Hearts vs. KiiiKiii: K-pop newbies face off in battle of rookies
Who will claim rookie of the year prize at music awards? The first half of the year saw a handful of new tracks from some of the leading K-pop powerhouses, who are now set to face off in a battle for rookie supremacy and set the stage for K-pop's next generation. SM Entertainment launched Hearts2Hearts in February -- its first girl group in five years, following aespa's debut in November 2020. At eight members, it was also the agency's first large-ensemble girl group in 18 years, since Girls' Generation. In March, KiiiKiii from Starship Entertainment took the torch from Ive, who stepped into the music scene in December 2021. Hearts2Hearts threw their hats into the ring on Feb. 24 with "The Chase," a mini album featuring a chill pop track that has been well-received for its smooth and dreamy atmosphere. The album sold more than 400,000 copies in its first week, setting a record for the highest first-week sales of any girl group debut album to date, according to Hanteo Chart. The song also debuted at No. 25 on the Circle Chart's monthly rankings in March and stayed in the charts from March to June without a steep drop, proving the band's debut excitement was no short-lived trend. On the day of Hearts2Hearts debut, KiiiKiii also boldly marched into the music scene with the release of "I Do Me," the lead track from its debut album, "Uncut Gem," ahead of the group's official debut. The song made a surprise debut at No. 13 on Melon's Hot 100 chart. The next day, the prerelease continued to hold ground at No. 70. "I Do Me" also topped YouTube's trending videos in Korea for two consecutive days upon its release. Months after their debut, the two rookie groups are facing off once again in a summer showdown. Hearts2Hearts dropped a single titled "Style" on June 18, which is a fun and catchy song that marks a shift in the group's musical style from their debut "The Chase," with a nostalgic vibe reminiscent of third-generation K-pop. KiiiKiii returned with its digital single "Dancing Alone" on Aug. 6, which features a city pop and retro synth-pop sound that explores themes of friendship. Despite the buzz among K-pop fans over the emerging rivalry, music critic Lim Hee-yoon said it is too early to tell how things will unfold. "Hearts2Hearts hasn't established its own musical identity because its debut track lacked a strong hook that appeals to the broader public, although the effort was still impressive for a rookie debut," Lim told The Korea Herald. "The band's later songs could pave the way for success if they release something completely different, possibly allowing them to follow the steps of top K-pop acts like Girls' Generation." "On the other hand, KiiiKiii's music videos, songs and several bandmates took the internet by storm after their release, but the hype faded relatively quickly, unlike NewJeans, who immediately rose to stardom with their retro vibes," Lim noted. "At this point, it's still too early to predict which group will have the upper hand in winning the rookie of the year award at the upcoming awards," the music critic added.


Korea Herald
25-07-2025
- Korea Herald
When K-pop stays abroad: The rise of export-oriented idol groups
Idol groups turn to overseas markets as saturation in Korea makes domestic success harder to achieve, say critics In the age of global K-pop, not all idol groups shine equally at home and abroad. Fans and insiders are describing a growing number of acts as 'export-oriented idols' — groups who debut in Korea but quickly shift focus to international activities due to lackluster local reception. While some idols still enjoy popularity across the board — such as BTS and Blackpink, who command massive fan bases both in Korea and worldwide — others are far more prominent overseas than they are domestically. Groups like Dreamcatcher, ARTMS, Kep1er and Enhypen have built their careers largely through global tours and overseas fandoms, with limited exposure or fanfare within Korea. Even Stray Kids and Ateez — among the most visible K-pop groups in the US and Europe — perform primarily in overseas stadiums while maintaining a relatively smaller presence locally. The disconnect has sparked questions about why some idol groups appear to "skip" Korea entirely, despite being products of its music system. According to music critic Lim Hee-yun, the divide is rooted in how the industry has evolved. 'The overseas K-pop market has grown dramatically, while the domestic one is shrinking,' Lim said, Friday. 'In Korea, competition is too fierce. New idol groups debut constantly and general interest in idols has declined.' Lim points to shifts in listening habits as part of the problem. 'Unless you're in the top five, it's hard to chart or create buzz. Fans are more likely to stick with artists they already follow or stream songs recommended by algorithms. The days when a new idol group could instantly become a public sensation are gone.' This saturation has made the Korean market harder to penetrate, particularly for mid-tier or rookie groups. 'Some major agencies have idols whose overseas revenue accounts for 70 percent of their total,' Lim said. 'Naturally, those groups prioritize international tours and promotions.' An executive at an indie K-pop agency who spoke on condition of anonymity echoed this view, adding that the marketing strategy varies by company size. 'For major K-pop agencies (like SM, JYP and YG Entertainment), the model is to build a strong local fan base, then expand to Asia and beyond,' he said. 'But for smaller agencies, it's often more effective to aim directly at overseas audiences.' The executive cited Ateez of KQ Entertainment as a clear example. 'They're not from a major company, but by targeting global fans from the start, they built a sustainable fandom abroad. Now they're doing world tours with far more impact than their domestic engagements.' Girl group Fifty Fifty's breakout hit 'Cupid' wasn't initially designed for the Korean market, the insider said. 'We saw that overseas fans responded well to a track from its first EP ... So we used that as a reference and deliberately created a song targeting American teens. That's how 'Cupid' came about — with support from Warner Music to push it globally.' Still, the divide between domestic and overseas success raises questions about the long-term sustainability of this model. 'The K-pop industry is in an oversupply crisis,' Lim said. 'Too many acts, too few consumers. If the bubble bursts, and it might, only groups with solid backing or loyal fan bases will endure.'