Drawing on the ancient name for geomungo, which literally refers to a “black crane zither”, Black Dragon (검은 용) imagines the solo instrument as the powerful and auspicious mythological black dragon, which, even today, symbolizes an extraordinary spirit and good fortune. Three movements, each representing a different aspect of the title creature, combine to form a musical journey in three scenes.

The opening movement, Dragon Awakes (용이 깨어나다), begins forcefully yet fitfully, as the music struggles to gain momentum, like a dragon that is not yet fully formed, striving to come into being. In its nascent state, known as Imugi (이무기) in Korean mythology, a proto-dragon must undergo some sort of extended trial in order to become fully formed. Over the course of the first movement, the music gradually gains speed and energy until it reaches a dynamic climax, mirroring the transformation of the young dragon into its fully emerged state.

Dragon Raining Tears (용의 눈물, 비가), the second movement, finds the dragon in a state of loneliness. Sparse textures and plaintive melodies suggest a sorrowful existence. Despite – or perhaps because of – its power, must the dragon be forever alone?…

In the final movement, Dragon Takes Flight (용이 날아오르다), the full force of the dragon bursts forth, as it steadily rises, riding great winds to eventually reach towering heights, where it soars over the world below.

The spirit of pungmul (traditional Korean drumming) infuses the first and, especially, third movements, as vigorously interwoven cross-rhythms and syncopations create a dynamic rhythmic backdrop. Though they often play the role of accompaniment, traditional Korean percussion instruments janggu, buk, kkwaengkwari and jing sometimes emerge from the background to become the central focus in unbridled, jubilant explosions of rhythmic energy, which musically suggest the awesome power of the unleashed dragon.

Black Dragon is composed for a newly developed version of geomungo with nine strings, another symbolic connection of the instrument to dragons, which were said to have 81 (9 x 9) scales  – a manifestation of a number often associated with fortuity in East Asian cultures. The original version of the work, for traditional Korean orchestra, was commissioned by the Seoul Metropolitan Traditional Orchestra, with support from a Guggenheim Fellowship. The version for Western orchestra was commissioned by the Hawaii Symphony Orchestra. 27 minutes in duration, the piece is dedicated to soloist Yoonjeong Heo, with admiration for her virtuosity and dragon-like spirit.