Canto Ostinato performed by Myung Hwang Park
This recital is conceived as a single arc—a gradual journey toward self-dissolution through music. Part I, “The Threshold,” serves as an intentional preparation, where each work contributes to a progressive release of narrative expectation. Couperin’s Les barricades mystérieuses introduces the logic of repetition through its quietly hypnotic rondeau structure. Satie’s Trois Gymnopédies deepens this suspension until the habit of expecting arrival begins to dissolve. Franck’s Prélude, Fugue et Variation then offers a final threshold: a music of inward prayer before the crossing.
Following the intermission, Part II (“Absence / Presence”) is devoted entirely to Canto Ostinato, performed in near-total darkness. The work is not a centerpiece among others; it is the destination of the entire evening. The title of the concert, “Facing the Divine,” does not invoke a religious figure. Here, the ‘divine’ represents the audience members themselves, sitting alone in the dark, facing their own reflection through endlessly repeating music.
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