This CD is a performance of geomungo pungnyu in the Shin Kwaedong style, performed on the geomungo (a six-string zither) by Yi Hyeonghwan with janggu (an hourglass drum) accompaniment played by Yi’s teacher Kim Youngjae (Intangible Cultural Asset No. 16 for Geomungo Sanjo). While the general term pungnyu (often translated as “wind and stream,” referring both to an ideal of pleasure in and self-improvement through the arts, as well as a genre of music) tends to refer to music of the court, in this performance it is a folk interpretation of an instrumental suite often called Yeongsanhoesang (Buddha’s Sermon on Vulture Peak).

Pungnyu is considered core repertoire for musicians learning traditional instruments in South Korea; however, folk interpretations like the one in this recording are not played very often. Among these, geomungo pungnyu in the Shin Kwaedong style is particularly rarely seen or heard in performances or even in any recordings. Therefore, this album is precious not only for musicians, but also for music researchers and curious listeners.

This performance showcases a complete version of the Shin Kwaedong style, which Yi Hyeonghwan learned from Kim Youngjae, who is currently the most renowned proponent of Shin Kwaedong. This album is based on a private original recording by Shin Kwaedong. Hence why, unlike other pungnyu albums which usually feature more than two melodic instruments, this recording only features geomungo and janggu. This compact combination of musical instruments allows us to appreciate the geomungo’s delicate and subtle techniques, which are more difficult to be detected in detail if in a larger ensemble.

Unlike other pungnyu renditions, the jangdan (rhythmic cycle) of “Garakdeori” (track 5) in this recording changes from a ten-beat jangdan to the six-beat dodeuri jangdan.

The overall tempo of the Shin Kwaedong style of geomungo pungnyu is faster than the most common version of pungnyu currently being performed in Korea, which is propagated by the National Gugak Center, an institution tasked with the preservation and promotion of traditional Korean music. This is particularly the case for “Taryeong” (track 10), “Gunak” (track 11) and “Duitpungnyu” (tracks 12–14).

For listeners who are unfamiliar with Korean music, the liner notes written by Yi Hyeonghwan may be difficult to follow. However, it is quite detailed and provides useful information on the musical and historical aspects of the Shin Kwaedong style of geomungo pungnyu.