Minje Jeon : Target
Ravel wrote his Piano Concerto in G major ‘in the spirit of Mozart and Saint-Saëns’; he intended the work to be gay and brilliant, believing that dramatic and serious effects were inappropriate in a concerto. While working on my Target, I very much agreed with his approach. In Target was not setting out to demonstrate any experimental elements of avant-garde music nor was I making any ideological point. On the contrary, it was written for both audience and performers to enjoy, as if they were watching an action movie called Target. It starts with a forceful sound from the orchestra and the notes ascend aggressively toward the highest A, which is the ‘target’, in the piano part. Then it shifts to an Allegro movement, after a prelude in a slow tempo. In simple terms, this is composed of an introduction and allegro. There are several formal changes in the Allegro, in the same sense that Ravel respected Classical form. It is Classical form that gives soul to music and that will be the key to enabling the audience to understand this music. The first part of Target appears again after the Allegro and all the notes again head towards and attack the highest A. The work ends with a short coda. It would be a great pleasure for me if both audience and performers feel and enjoy this music in the same way as I did – trying to catch up with the target all the time – while I was composing it. Recently, what I have realised is that music should be written not to compel the audience to listen to it, but to win people over to it naturally.
If 20th-century music can be described as ‘innovation and development’, 21st-century music can be described as ‘mutual empathy’ or ‘shared sensibility’, as art is based on empathy.