Given the many issues that continue to define the tense relationships between Japan, a colonizer which used incredibly repressive and brutal measures, and South Korea, the colony that is now one of the world's economic powers, it is remarkable to note the power of music to bridge some of the political, social and economic gaps that exist.
Japan Victor Corporation (JVC) has released its World Soubds catalog, which it defines as "featuring the traditional music unique to many countries, music which people all over the world enjoy listening to and performing" and then states "this collection featuring musical voices from every corner of the globe is now being offered by Japan to the world."
Whether this is an intent to bring people from different societies and countries together is not explicitly stated but the general offer at the end of the last phrase could be interpreted as that. Prime Minister Shinzo Abe's visit to Pearl Harbor in Hawaii, the first such trip by a Japanese head of state, might be thought of as a goodwill gesture in the political arena.
But, a recent unveiling of a statue in front of the Japanese consulate in Busan, South Korea, commemorating the plight of the "comfort woman," Korean women used as sex slaves, led Japan to pull out of upcoming economic talks with Korea and to threaten to not only remove its consul in Busan, but its ambassador from Seoul, as well. This comes after a 2015 arrangement between the two countries included a Japanese apology for the treatment of comfort women and a fund to support about four dozen survivors. Where this latest problem goes remains to be seen.
As to the music on this remarkable disc, recorded in late June 1988 in Tokyo, it emphasizes the sounds of high-pitched reed wind instruments with percussion accompaniment in three long performances.
"Sinawi for Samul and Hojok" includes the powerful and orchestral sounds of the samul, an ensemble of gongs and double-headed drums, that have been the focus of an entry on this blog in the past, with the hojok, a conically shaped reed instrument that is played in a very stately and emotive manner by Park Jong Sun. To this listener, this piece is the most intriguing, primarily because of the impressiveness of the percussion.
"Piri Sanjo" refers to a four-movement suite in the sanjo form, in which the piri wind instrument is backed by light percussion and the track gives full expression to the virtuosity of the soloist, Han Se Hyon.
The performance of "Taepungnyu" is also exceptional, with the changgo (the two-headed drum) played very sparsely to support the ensemble of wind instruments, including two piri, a haegum (or a fiddle-like piece), and the taegum (flute). To this listener, having the flute provides a variety and a contrast in tone and register that makes the piece, performed in the same stately tempo as the others, highly distinctive.
This is a very impressive recording of traditional Korean music, obviously issued by a Japanese record label in the hope of showing Japan's desire for bringing people together in at least a general way. Given continuing problems in the diplomatic relations between the two nations, it seems particularly relevant.